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  • Likes, Leads, and Loyalty: Turning Social Influence and AI into Profit

    Likes, Leads, and Loyalty: Turning Social Influence and AI into Profit

    We’re entering one of the biggest shifts in customer behavior since the invention of Google. AI-powered search engines, social commerce, peer-driven trust, and changing buyer expectations are fundamentally reshaping how contractors discover products, evaluate brands, and make purchasing decisions.

    At the 2026 National Association of Electrical Distributors (NAED) National Meeting, I presented a session titled “Likes, Leads & Loyalty: Turning Social Influence and AI Into Profit.” Here’s the script I wrote for my speech:

    The Biggest Shift in Customer Discovery Since Google

    ChatGPT users now submit 2.5 billion prompts every single day. Answer engines and AI summaries have led to a massive decrease in web traffic. Some reports estimate web traffic plummeted 60% since last year.

    We’re undergoing what’s being called “the biggest shift in how customers find business since the invention of Google.” Right now, electricians are asking AI chatbots the same questions they used to ask your counter guys. And the gap between how fast their expectations are changing and how slowly your systems are changing is where your margin starts to leak.

    And if you’re thinking, “not my customers,” I bet you didn’t think you’d see your customers dancing on TikTok either but here we are.

    [Queue the montage I edited of viral construction worker dance videos… It was great. You would have loved it.]

    The Buying Journey No Longer Starts at the Counter

    I’m here today speaking on behalf of your customers. I’m here to share what hundreds of thousands of electricians and contractors are already doing whether you’re ready for it or not.

    I’m the VP of Marketing at Trade Hounds, America’s largest social commerce app for the trades. I spend every day with electricians who share posts about their pain points and how their jobs are changing because of AI and social media. I also have a Ph.D. in emerging technologies, so I’ve been conducting research into this massive evolution happening in the way electricians buy the products you sell.

    Here’s the hard truth: a growing share of your future revenue is won or lost before anyone ever contacts your branch. Before the counter. Before the quote. Before inside sales even knows a job exists.

    Today, the buying journey starts somewhere else. It starts:
    • in a feed
    • in a direct message
    • in comments under a product video

    It might happen on YouTube, Instagram, Facebook, TikTok, LinkedIn, Reddit, or Trade Hounds.

    AI Search Engines Are Learning From Social Media

    What does social media have to do with AI? There are two game-changing shifts underway right now. The first shift: chatbots like ChatGPT, Copilot, and Claude are pulling an increasing percentage of their answers from social media platforms.

    According to new research by Profound, LinkedIn just surpassed Reddit as the number one most cited domain for B2B queries across all AI search platforms. That’s followed by YouTube, Facebook, and Instagram.

    And not only are more people using AI search, they’re also starting to prefer it over traditional search. According to an Innovating with AI Magazine survey, over 80% of respondents now find AI-powered search more efficient than traditional search.

    So, the question distributors and manufacturers now have to answer isn’t just, “do we rank on Google?” it’s, “can AI understand us well enough to recommend us?” Because if AI doesn’t understand who you are, what you sell, and why you’re credible it won’t recommend you.

    Influence Now Happens Before Sales Ever Gets the Call

    Influence has moved upstream and preference is being formed before the call. That matters because preference usually means:
    • less selling effort
    • less price pressure
    • faster conversion
    • higher chance of repeat business

    When influence moves upstream, profit moves with it.

    Social Commerce Is Reshaping Purchasing Behavior

    The second shift is social commerce. U.S. social commerce will cross $100 billion in 2026. TikTok Shop alone is projected to hit more than $23 billion in U.S. sales.

    There’s another force colliding with all of this and it’s demographic. Over the next decade, roughly half of today’s electrical contractors and tradespeople will retire. They are being replaced by a new generation of buyers. Digital natives. Buyers who grew up asking questions in apps, not over the phone. Buyers who expect instant answers, side-by-side comparisons, social proof, and self-service.

    This next generation still values distributors. They still need fulfillment. They still need expertise. But their expectations are different. They expect:
    • faster answers
    • fewer steps
    • less friction
    • digital-first experiences

    This is where social media stops being just a “marketing thing” and starts being a serious revenue lever.

    Why Peer Trust Matters More Than Brand Messaging

    AI accelerates research. Social validates trust. Buyers increasingly ask AI things like, “what breaker should I use for this type of job?”

    AI gives them speed. Then they ask people on social media:
    • “Is it worth the money?”
    • “Does this actually work?”
    • “What can I swap this with?”

    This is why, especially in the trades, peer credibility is increasingly more important to your bottom line.

    A poll we ran in Trade Hounds found 70% of users are more likely to buy a product after seeing it on the app. That’s because they trust their peers. They’ve grown up skeptical of spammy ads. They’ve grown up in digital communities where they get advice from creators who look like them.

    Print ads. Email campaigns. Perfectly designed brochures. All of that still works for customers who had the patience to sit through dial-up. But younger buyers can spot overly polished marketing instantly. If something feels too salesy, they don’t complain. They disengage.

    A polished brand video says, “we care about quality.” A creator video says, “I dropped it off a ladder. Still works.” That’s the only certification that matters on a jobsite.

    83% of Trade Hounds users told us ads should feature real workers on real jobsites not stock photos, not studio lighting, not overly polished demos.

    AI Visibility Depends on More Than SEO

    AI search engines are rating your credibility based on what other people are saying about you online.

    They’re evaluating signals like:
    • how often your products appear in credible content
    • how many reviews or mentions exist
    • what tradespeople say about you on social media
    • how clean, consistent, and complete your product data is

    If you don’t have user-generated content, you’re invisible to buyers and to machines.

    To win in 2026, you need to optimize for three things:
    • Visibility — can AI and humans find you?
    • Validation — do real tradespeople trust you?
    • Velocity — can someone understand what you sell in under 60 seconds?

    Product Data Is Now a Revenue Strategy

    At this point, someone always asks: “Why can’t we just rely on our own ecommerce and AI ordering?”

    Here’s the reality: the average contractor buys from five or more distributors. That’s five logins. Five websites. Five carts. Five chances to forget a password and give up.

    Contractors aren’t tired of distributors. They’re tired of friction. That’s why the future isn’t isolated storefronts. The future is platforms.

    Trade Hounds isn’t here to disintermediate distributors. We’re here to make it easier for buyers to purchase from you. Our agentic AI allows electricians to discover products, get answers, and order materials directly to their preferred distributors right inside the Trade Hounds app. That’s what platforms do.

    We don’t replace relationships. We scale them.

    As I’ve been working to onboard distributors and manufacturers into the Trade Hounds app, a few things have really stood out to me as major opportunities to improve.

    Lots of marketing teams I meet with are surprised to see their product data is incomplete or missing images. If your data teams aren’t maintaining robust and up-to-date data feeds with aggregators like IDEA, your ecommerce, AI engines, and platforms like Trade Hounds display incomplete product information.

    If you’re wondering how much that really matters, we asked your customers and here’s what they said:
    • 71% said product images are very important when buying
    • 90% said accurate and complete product data is very important when purchasing materials

    If you take one thing away from this article, let it be this: Product data feeds everything else. If your product data is lacking, you are losing customers whether you realize it or not.

    What Distributors Should Do Next

    The first thing I would do is check in with your data and tech teams. Make sure you don’t lose opportunities because of incomplete product data. Clean your dirty data so you’re discoverable on AI platforms.

    The second thing I would do is work with your marketing and sales teams to showcase your expertise across all social media platforms where your buyers are, not just LinkedIn. Engage in the comments and show customers that you are a resource for them.

    The third is to leverage customer content to raise peer-to-peer awareness. One great way to make sure your content is buyer-centric and authentic is to literally put your buyers in your videos.

    And if all of that sounds like too much to add to your already long to-do list, companies like Trade Hounds are here to help. We’ve managed hundreds of creator campaigns and can help companies make their mark during this crucial shift in the industry.

    Final Thoughts

    The companies that win in the AI era won’t simply have the best products or the biggest inventories. They’ll be the companies that are easiest to discover, easiest to trust, and easiest to buy from.

    The next generation of contractors expects instant answers, authentic peer validation, and seamless digital experiences. AI is accelerating those expectations even further.

    This shift is already happening — and the distributors and manufacturers who adapt early will have a major competitive advantage in the years ahead.

  • The Algorithm Will See You Now: How AI and Next-Gen Are Rewiring Electrical Sales

    The Algorithm Will See You Now: How AI and Next-Gen Are Rewiring Electrical Sales

    I hosted a keynote panel that I titled “The Algorithm Will See You Now: How AI and Next-Gen Are Rewiring Electrical Sales” at nVent’s global sales summit in Pheonix, AZ in 2026. Here’s what I talked about.

    AI & Social Are Changing Marketing & Sales

    For decades, the construction and industrial trades followed a predictable buying path: Catalog → Supply house → Purchase.

    That world is changing. Today’s electricians, HVAC techs, plumbers, and contractors are buying in a completely different way: Scroll → Ask AI → Validate socially → Buy — often without talking to anyone.

    This isn’t just happening in consumer retail, it’s hitting B2B construction, distribution, and manufacturing just as hard. And the data shows the shift is accelerating.

    If you sell tools, parts, software, training, or equipment into the trades, this is the most important trend you need to understand right now.

    Tradespeople Now Discover Products on Social First — Not in Catalogs

    Younger tradespeople don’t “browse brands.” They discover solutions in feeds.

    On Trade Hounds alone, tens of thousands of electricians, techs, and foremen post new tools they’re using, products that failed, wiring techniques, breaker installs, load centers, and jobsite hacks.

    This mirrors what’s happening across TikTok, Instagram, and YouTube. Recent research shows that 69% of Gen Z now discover new products through influencers or creator content, and nearly half plan to increase purchasing through social platforms in 2025–2026.

    Social media has become the new trade magazine, the new product catalog, and the new peer review system all in one.

    The next generation of tradespeople doesn’t wait to “research vendors” the way previous generations did. They encounter products organically through creators, coworkers, algorithmic feeds, and jobsite videos. They see someone use a product in the field before they ever visit a manufacturer website.

    That shift fundamentally changes how buying decisions begin.

    AI Is Becoming the Tradesperson’s Research Assistant

    The next layer is even more disruptive. More tradespeople are now asking AI tools questions like, “what’s the best panel for a 200A service?”, “what breaker works with this Siemens load center?” and “what tools do I need for this install?”

    A 2025 poll of 733 Trade Hounds users found that 43% already use AI like ChatGPT to answer work-related questions, another 31% said they would try it, and only 25% said they’re not interested.

    That means most tradespeople are either already using AI on the job or are open to it. This matters because AI changes how product discovery works.

    Instead of opening catalogs or calling multiple distributors, buyers can now instantly compare products, troubleshoot installs, summarize specifications, and narrow down options within seconds. AI is becoming the first layer of research.

    AI Accelerates Research. Social Validates Trust.

    Here’s the critical part. AI accelerates research. But social validates trust.

    Buyers increasingly check platforms like Trade Hounds, Instagram, YouTube, and Reddit to verify whether a product actually performs in the field. They look through comments, tool reviews, and real jobsite photos while asking questions like, “does this actually work?” “will it survive the field?” and “is it worth the money?”

    This is why user-generated content has become more powerful. A distributor can say a breaker is reliable. But a journeyman saying, “I’ve installed 200 of these with zero failures,” carries exponentially more weight.

    Modern buyers trust evidence from peers more than messaging from brands. And younger tradespeople grew up in digital communities where recommendations came from creators, forums, reviews, and social feeds — not corporate advertising.

    That behavior is now reshaping industrial and B2B buying too.

    Manufacturers and Distributors Are Now Being Scored by AI

    This is the part most B2B brands haven’t realized yet. AI systems don’t just look at your website. They evaluate how often your products appear in content, how many reviews exist, what people say about you on social media, and how consistently your specs appear across the web.

    If AI doesn’t “see” your brand in enough trusted places, it won’t recommend you. That means no presence in creator content, no user-generated content, no conversations, and no educational posts increasingly equals invisibility to the modern buyer.

    This is why manufacturers investing in creator partnerships, installer videos, and distributor-driven content are winning disproportionate mindshare. They’re not just marketing. They’re training the machines that guide buyers. That’s the shift many organizations still underestimate.

    AI search engines are increasingly functioning as recommendation systems. And recommendation systems rely heavily on trust signals, authority signals, consistency signals, and social validation.

    Brands that fail to generate those signals risk disappearing from the discovery process entirely.

    Video Has Become the New Product Demo

    A Trade Hounds poll found that 70% of users are more likely to buy a product if they see it on the app.

    Trade Hounds, YouTube, Instagram, and TikTok now function as real-world product demonstration platforms showcasing product demos, install guides, spec explanations, side-by-side comparisons, jobsite troubleshooting, and real-world durability tests.

    This is why manufacturers producing content like “how to install,” “what’s inside,” “what’s different,” and “what went wrong” are outperforming companies still relying exclusively on polished brand content.

    Modern tradespeople want real jobsite footage, real installs, real mistakes, and real performance.

    In another Trade Hounds poll, 83% of respondents said ads should feature real workers and real jobsites.

    That statistic matters because it reflects a broader shift toward authenticity-driven trust. Buyers increasingly value realism over polish. They want to see products survive real-world conditions, not controlled studio environments.

    The Old Sales Funnel Is Dying

    The old B2B model was: Awareness → Rep → Quote → Purchase

    The new reality increasingly looks like: Social Discovery → AI Research → Peer Validation → On-Platform Purchase

    We’re already seeing electricians buying tools directly through social shops, contractors using AI to shortlist suppliers, and distributors getting inbound leads that started with TikTok or YouTube.

    Soon, even larger purchases will follow this same path: “AI recommended this… and the guys on Trade Hounds say it’s legit.” That’s the new trust stack.

    What This Means for Manufacturers and Distributors

    If you sell into the trades in 2026, you must optimize for three things: visibility, validation, and velocity.

    Visibility means AI and social platforms can actually find your products through clear specifications, consistent naming conventions, searchable content, and presence in creator and user posts.

    Validation means real tradespeople are talking about your products through user-generated content, jobsite photos, reviews, comments, and real installs.

    Velocity means someone can understand what you sell in under 60 seconds through short videos, clear use cases, simple explanations, and easy-to-understand differentiation.

    The companies that adapt fastest to these three areas will gain a major advantage in AI-driven discovery environments.

    Why Trade Hounds Is Built for This Shift

    Trade Hounds exists at the exact intersection of social proof, tradesperson community, product discovery, and peer validation.

    We’re not just another platform. We’re where AI pulls trade-specific signals, manufacturers build credibility, distributors see what contractors actually want, and tradespeople learn, teach and buy.

    The companies that win in the next decade won’t just sell products. They’ll be seen, talked about, trusted, and recommended by both people and machines. That’s where industrial buying behavior is headed. And the shift is accelerating much faster than many organizations realize.

    The Bottom Line

    AI didn’t kill selling. It changed who controls the decision. Social didn’t replace distributors. It changed how trust is built.

    In the trades, trust has always been everything. The future belongs to brands that earn it in feeds, in conversations, and in the hands of real tradespeople.

    If you want to win in 2026, you don’t need more ads. You need more proof.

  • Media Training

    Media Training

    Journalists may be trained to tell your story to the masses, but don’t forget that you are the expert. It’s your responsibility and opportunity to help the media get your message to people who would benefit from learning what you’re working on.

    How to feel confident speaking to the media

    1. Be prepared
    2. Simplify
    3. Don’t bury the lead
    4. Understand why they should care about what you have to say:
      • How does your story affect the masses?
      • What is the impact on your community?

    Preparing is the best way to boost your confidence. This way you’re thinking about the topic, not how nervous you are.

    The best way to prepare is to simplify. When you are educated about a certain topic you generally know a lot more about the topic than the people interviewing you. So, don’t jump into the deep end. Step back and understand what your lead is.

    Your Lead

    Write 1-4 sentences to describe the point of your message.

    • What new information are you uncovering?
    • Who does it affect?
    • How will it affect them?
    • What is the greater impact?
    • Is there a local angle?
    • Can you connect your message to a story that’s in the news?

    Be clear so anyone uneducated about the topic can understand your lead.

    • Your sentences should be as short as possible.
    • Only use simple words.
    • Avoid jargon and acronyms.

    Reporters will often quote you using 10-seconds or one sentence, so make sure the first 10-seconds says everything you need them to know.

    Impact

    The media is trying to tell a story about you to the masses. Talking to the masses means shifting the way you look at yourself and your work. Your work is likely fascinating to you, but you should never assume that anyone has any idea what you’re talking about.

    How do you make sure your media coverage is accurate and valuable?

    • Focus on impact.
    • How does your story impact the masses?
    • What does it mean in layman’s terms?

    For example:

    Did the FDA approve the Gardasil vaccine to prevent Human Papilloma Virus? No. The FDA approved a vaccine that could prevent thousands of people from dying of cancer. The average audience doesn’t know words like “Human Papilloma Virus.” But, they know they don’t want to die. Start with simple sentences, then you can go in depth later.

    If you’re an expert on a topic you may not like to simplify your message so much, but you have to lead with the impact so people know why they should listen to you.

    Q&A

    When a member of the media asks for an interview, ask them what questions they plan to ask you. They likely won’t share every question because they may not have finished preparing for your interview yet. Or perhaps they will ask you an unexpected question during the interview in response to one of your answers.

    Before the interview, write a list of questions you want reporters to ask you. Write your answer in the most concise way as possible. Don’t memorize your responses, just be comfortable with how to answer questions without burying the lead.

    At the end of the interview, a journalist may ask if there’s anything else you’d like to add. This is your opportunity to talk about anything they didn’t know to ask. If a journalist doesn’t ask you if you have something to add, you can always tell them you’d like to mention one more thing before the interview ends. This works best for non-live interviews.

    Live or Recorded Interviews

    If a reporter doesn’t clarify the type of interview they want, you should ask them if it will be live or recorded. There are tons of different types of multimedia stories on different platform these days, but here are the most common ways a reporter will use your interview:

    1. A journalist will pick which one of your quotes they will include in a text story for a print or digital publication.
      • This will not be live. That means there’s less pressure on you because you can start over if you want to re-word your answer.
      • If you accidentally say something that is incorrect, you can correct yourself. The reporter wants to be accurate just as much as you do so they’ll be happy you corrected your statement, even if you don’t remember until the end of your interview.
      • The journalist may also ask you the same question in different ways until they get a concise quote that the masses will comprehend.
    2. A journalist will record audio of your interview for radio or the web.
      • They can either edit out parts of your interview for sound bites or air the interview in its totality.
      • You may ask them if it will be edited so you know if you can stop and start over, or if you should just keep going if you stumble.
      • You may want to bring notes to refer to so you remember what you want to talk about. This helps when you’re talking about lots of numbers.
    3. A journalist will conduct an audio interview live on the radio or the web.
      • If your interview is live, everything you say will immediately be aired or streamed to listeners.
      • A few outlets have dump buttons, but those are usually only used to bleep out offensive language that could get them fined by the FCC.
      • I highly suggest bringing a cheat sheet so you can refer to it during the interview. Even if you don’t use it, having a back-up may make you feel more calm and prepared.
      • Make sure you ask the reporter or host how much time they want to chat for.
      • Don’t forget URLs or social media accounts if you want the listeners to get more information on your website.
      • Show up early. A producer of a live show will get worried if you’re not there at least 15-minutes before your interview. That may lead them to cancel your segment out of fear you won’t show. If a journalist doesn’ tell you when to show up, you should ask them how early you should get there. Most journalists will ask that you arrive 30-minutes before a live interview.
    4. A journalist will record your interview on video.
      • Ask if the pre-recorded interview will be edited or live-to-tape.
      • Live-to-tape means they will air or publish everything you say from beginning to end. It will not be live. It will be aired or published sometime after the interview ends.
      • An edited interview may allow you to stop and start over to reword your response.

    On-Camera Interviews

    Avoid wearing a white top, especially if you have darker skin. The light reflecting off of your white shirt will force the camera iris to close. This will reduce the detail on your face. The videographers may be able to adjust, but don’t make their jobs any harder because they’re trying to make you look good. Help them. It usually won’t be this bad, but it could end up looking something like this:

    Screen Shot 2017-08-16 at 11.24.47 AM

    You may also want to think twice about a white blouse because bright TV lights may make your shirt look extra see-through.

    You can also help make the video look better by not wearing tight patterns because they jump around on screen like this:

    hqdefault.jpg

    The videographer will likely clip a small lavalier microphone to your lapel or top. Avoid wearing really big necklaces that may hit the microphone. Also, avoid touching the microphone because it will make a loud noise and the soundbite will likely be unusable.

    travel-sound-lav.jpg

    So what are you supposed to wear?

    • Solid colors look best.
    • Don’t forget to iron, steam or dry clean your clothes. Pay particular attention to your collar. Wrinkles may not be so bad in real life, but HD cameras may make them look worse.
    • Avoid wearing clothes that are too big for you. If you’re deciding between a fitted outfit and a loose one, I suggest the fitted one. Regardless of your size or shape, fitted clothes tend to look more professional on camera.

    Where should you look?

    In most instances, you should ignore the cameras and just look at the reporter or host.

    If you’re doing an on-camera interview over satellite, Skype or FaceTime you should look directly at the camera. If you’re able to see yourself on a monitor, avoid the urge to look at yourself because it looks like you’re disengaged.

    Before the interview:

    Take a quick look in a mirror or your cell phone camera to check:

    • Your hair
    • Your clothes
    • Your necklace or tie
    • Your collar
    • Your teeth

    Hopefully, the host, reporter, videographer or floor director will give you a heads up if your clothes are crooked or if you have lipstick on your teeth, but sometimes they don’t catch it before it’s too late. Not only will it be a bit of a bummer for you, but a small detail like that may make it less likely for people to share or re-air your interview. That means you and your message will get less exposure.

    Take a tour

    If your interview will be at a TV studio, take a tour. One way to shake your nerves about going on TV is to visit the station before your interview. If you have time, just ask if someone at the station will give you a tour. Most TV stations give free tours, you just have to ask. This way, you’ll know your way around and not stress about having a hard time finding the place. Going behind the scenes may also take some of the suspense out of it so you can focus on the reason you’re doing an interview.

    Questions you should ask the interviewer

    We went over some of these briefly, but let’s put them all in one place so you can refer to this list the next time a reporter calls you for an interview:

    1. Who are you? Get their name, the name of the news organization for which they work, and whether they cover a particular topic or beat.
    2. Can you tell me about the story you’re working on? 
    3. Are you approaching this story from any particular perspective? 
    4. Who else are you interviewing? 
    5. What’s the format? Print, TV, live, pre-taped, etc.
    6. What do you need from me? Ask the reporter how much time the interview will last and where the reporter wants to conduct the interview. Also, ask if you can provide any press releases, graphics, photos, videos, or other supplementary documents. You can often expand your presence in a news story—and influence the narrative—if the reporter chooses to use your supporting materials.
    7. Who will be doing the interview? For many radio and television interviews, you will be contacted initially by an off-air producer rather than by an on-air personality. Ask for the name of the person conducting the interview.
    8. When are you publishing or airing the story? Review the story as soon as it comes out. If it’s a positive story, share it with your online and offline networks. If it’s a negative story, consider issuing a response or contacting the reporter or editor to discuss the coverage.
    9. Can you please send me your story when it’s done? Many journalists are so busy they often forget to send you the story after it airs or is published. This is very common, so don’t feel bad. Just ask them to send it to you. You may need this for your own professional development file to help you showcase your community engagement, so make sure you ask right away. Download and/or screengrab the interview because you don’t want to trust that the website will be there forever. If the video is posted on YouTube, you can use a free ripper like YTD to download your video file and keep it safe.

    You can find more tips like these in “The Media Training Bible: 101 Things You Absolutely, Positively Need to Know Before Your Next Interview.”

    Practice

    1. Talk to yourself in the mirror so you become comfortable with your facial expressions and body language.
    2. Record yourself on your phone or camera and watch it back. You may notice you say “um” too often. Or maybe you’re talking too fast. Or maybe you’re perfect and you have nothing to worry about. Either way, it’s a good habit to practice in front of a camera, even when it’s your own.

    Being put on the spot may feel natural to some, but most people struggle with getting up in front of people or cameras. The number one step to battle your anxiety is to understand where it comes from. Psychologist Kelly McGonigal does a great job of explaining how to use your stress. When speaking in public or in front of cameras, use your adrenaline to give you energy on stage. Recognize that your pounding heart, sweaty palms and quick breath are actually a result of excitement, not anxiety. So get excited because public speaking is fun!

    In her TED Talk, McGonigal explains why to view your stress response as helpful:

    1. Your body is preparing you to meet a challenge.
    2. If your heart is pounding, you’re getting more oxygen to your brain.
    3. How you think about your stress could make you feel joy, instead of pressure.

    Watch this video to better understand why you get stressed, and turn that stress into power:

    A few extra tips

    • During the interview, avoid using the words “again” or “like I said.” It comes off as arrogant and rude especially when the thing you said may be edited out of the final product. It also makes it harder for the journalists to edit your audio or video, so they’re likely to ditch it and not use your quote at all.
    • If you’re using notes, avoid shuffling or touching the paper because the microphone may pick up that noise. This may also lead to your sound bite not making the cut.
    • Turn off your cell phone ringer. This is especially important for live audio or video interviews. Shut off the vibration on your phone.
    • Spit out your gum.
    • Have water handy.
    • Avoid being sarcastic and/or defensive.
    • A journalist will not give you the power to approve their story before it’s published, but you may want to offer to help fact-check. Some journalists can get territorial because they’re trying to be objective so this is a non-threatening and helpful way to make sure your story is accurate, “If you want help confirming any facts in your story, I’m happy to be of service.”
    • If the reporter asks you a question you don’t know the answer to, it’s OK to say you don’t know. Offer to find the answer for them later or connect them with someone who may be able to help.
    • Offer visuals or links with relevant information.
    • Some journalists are just looking for you to share objective facts. But many would love for you to open up and share intimate details about yourself. For example, if you’re trying to find a cure for the cancer that killed your own mother, that personal detail is huge. A personal angle will often give your story better coverage. The reason is that personal stories evoke more emotion in readers, viewers, and listeners. If the audience feels more emotion during the story, the story is more likely to be memorable. If the story itself will have a greater impact on the audience, producers will showcase your story, and web producers will place it in a more prominent space on the website or app.

    How to give better sound bites and quotes

    The best sound bites and quotes include analogies and metaphors because it makes your message relatable and easy to understand. Think of a clever way to explain your message.

    Want more media coverage?

    Don’t wait for reporters to come to you

    Getting media coverage will help educate the public and boost your professional brand. Don’t wait for reporters to come to you, go to them first. If you share helpful information with reporters on a regular basis, they’ll be more likely to turn to you if they ever need an interview. You can send them emails about newsworthy events in your field. You can also tag them on social media.

    Engage with reporters on social media

    Social media engagement is incredibly valuable for news organizations. Likes, shares and comments are currency for journalists nowadays. If you follow, friend and like a journalist that will increase their chances of getting a raise at their job. Do not underestimate the power of social media engagement. If applicable, follow and engage with a journalist on:

    • Twitter
    • Facebook
    • Instagram
    • LinkedIn
    • YouTube

    That means you should like, share, and comment on their stories. You can also direct message them with story ideas. You should also publicly compliment journalists. Media managers spend a lot of their time analyzing their employee’s social media accounts. Here’s an example of a short and sweet social media compliment:

    Thank you @WFLARod for taking the time to shed light on #HPV in your story about the Gardasil vaccine. Here’s a link to a local clinical trial underway at Moffitt to study HPV in men: https://www.moffitt.org/take-charge/take-charge-story-archive/vaccination-could-prevent-reinfection-in-men-with-hpv/

    Urgency is key

    If you want media coverage, a journalist needs to know you have a sense of urgency. Most reporters don’t have enough time to do their jobs, so you need to be available immediately. If they call, text or email you, respond right away, or they’ll find someone else.

    Know of an anniversary relevant to your field that’s coming up? Don’t wait until the day of, or worse, the day after. Reach out to a news organization to let them know at least a week ahead of time. You can tag an organization on social media and contact their assignment desk.

    The assignment desk is a great resource for media organizations. You can find their phone number and email address on every TV station website. Oftentimes, you can find it under newsroom contact info. Call them up.

    Network with journalists in person

    Join journalist associations like the Tampa Bay Association of Black Journalists. Organizations like these frequently host forums and community meetings. Show up.

    You can also invite a journalist to be a moderator at an event you’re hosting. Journalists are great at asking questions. They’re also good at taking control of conflict if disputes arise on stage.

    Did you attend a journalist organization event or invite a journalist to be a moderator? Don’t forget to take photos and videos of them, post them on social media and tag them right away.

  • How the Class Of COVID-19 Empowered Unheard Communities in the Fight for Social Justice

    How the Class Of COVID-19 Empowered Unheard Communities in the Fight for Social Justice

    First author: Jeanette Abrahamsen
    Co-author: Janelle Applequist
    Research assistant: Emmanuel Maduneme

    Abstract

    Using social identity theory and constructivist learning theory, this case study explores interactive ways to enhance inclusive learning design by enabling students to tell stories about solutions to societal problems that were exacerbated by the pandemic. Educators have the ability to create curriculum that fosters deeper understanding about inequity in our communities. Students in Florida Focus, a TV news class, applied what they learned about social justice to newscasts that amplified diverse voices that are too often absent in mass media.

    Forged In Fire: A Case Study of How the Class Of COVID-19 Empowered Unheard Communities in the Fight for Social Justice

    Students in the Florida Focus TV news class at the University of South Florida create impactful solutions-based journalism stories that air Mondays through Fridays on Tampa’s PBS station in one of America’s largest media markets. During the spring 2021 semester, students were responsible for pitching news stories, writing scripts, interviewing people on camera, conducting research and editing the stories into videos. The daily newscasts were published on YouTube, Facebook, Twitter, Instagram and broadcast on local TV. The goal of the class is to air timely stories while providing the community with diverse perspectives that are often missing from mainstream media outlets. In addition to exposing social injustice, students were also tasked with shining a light on people who are working to fix these problems and empower viewers to become part of the solution. This course is designed to provide students with an environment that closely matches the expectations of a real-world TV newsroom. The instructor acts as the news director for the daily operations of the newscasts. The objective of the course is to prepare students for full-time employment in the TV news industry. After graduating, some students go on to become news producers, reporters, writers, anchors, videographers and editors.

    While it is important that journalists identify what communities are going through, it is equally important that educators address challenges our students are facing. COVID-19 provided us with a unique opportunity to support our students because the pandemic exacerbated systemic inequalities that our students have experienced for a long time. We were forced to come face-to-face with the realities of inaccessibility to technology, healthcare, housing, and basic human rights. The diverse racial and gender makeup of the students in this class added a sense of urgency in tackling society’s problems. The pandemic made these problems even more personal, which made it the best time to empower students to do something about it.

    In the first month of the semester, students went through a social justice boot camp. In response to the pandemic, the course that was once taught in a TV studio on the USF Tampa campus, was transformed into a synchronous online course with extensive digital modules using a learning management system following Richard Mayer’s Principles of Multimedia Learning. The first module was titled “What you’re writing about and why.” It was broken up into pages that delved into how to report on different social issues like racism, sexism, wealth inequality, the prison industrial complex, mental health and bigotry against people in the LGBTQ+ community. Each module page contained a combination of infographics, statistics, podcasts, TV shows and documentaries to arm students with the knowledge many said they lacked coming into the class. Students learned about journalists’ responsibility to fairly and accurately represent their communities.  

    Following in-depth reflections and group discussions surrounding social justice issues, students then learned how to use multimedia and storytelling tools to share what they learned with the world. Students were taught that it is their responsibility to create content that engages audiences while educating the community about solutions to these problems. 

    Some of the students chose to cover stories about hate crimes against Asian Americans as a result of racist rhetoric around the coronavirus. One student featured a digital equity initiative that is helping underserved students get access to laptops and internet. One student celebrated a developmentally disabled baker who created her own company after losing her job because of the pandemic. One student interviewed a Black barber who gives free haircuts and books to children of color. In the wake of the Crown Act to ban hair discrimination, another student interviewed anchors and reporters about their fight to wear natural hair on TV. Two students traveled to the spot where Trayvon Martin was killed on the anniversary of the teen’s death to produce a video about how it helped give birth to the Black Lives Matter movement.

    While it is crucial that all journalists are capable of accurately telling stories about people from different backgrounds, there is no denying that representation in newsrooms also matters. A Radio Television Digital News Association survey of local TV news diversity published in 2020 found that people of color make up just 26.6% of the American TV news workforce (RTDNA, 2020). This lack of representation inside newsrooms is considered one of the reasons that American TV news stories fail to represent their communities. 

    The aim of this study was to evaluate whether this social justice instruction and focus on intentionality resulted in students creating more equitable and inclusive media. The study sought to get feedback from students about their perception of comprehension and retention as it is related to diverse news content creation. The study also aimed to better understand how students felt about broadcasting social justice issues they were personally affected by. It also attempted to get a snapshot of whether students felt adequately informed on social justice issues prior to participating in the class and whether they felt changes need to be made to K-12 and university instruction surrounding these issues.

    Theoretical Framework

    Students were taught to intentionally conduct interviews with diverse people whose stories are too often unheard. Historically, newsrooms predominantly hired white men, which transferred to news coverage that focused largely on people who looked and sounded like those journalists. The goal of this class was to end this cycle and instead aim to more accurately represent the communities we serve. Social identity theory (how individuals use their concepts of the self to identify with other groups and make sense of the world) posits that how we view ourselves is “largely relational and comparative,” (Tajfel & Turner, 1985, p. 16). Social groups play an important role in the development of social identity, pride and self-esteem. Social identity theory focuses on belonging. Thus, for students to see themselves as members and leaders of their communities, it was important to have culturally diverse media coverage whereby students could see themselves represented in the shows they created. According to social identity theory, if our student journalists are more diverse, then their stories should be too. Publishing inclusive TV news shows should help our students and viewers create a more open-minded, empathetic and compassionate society.

    The course was also designed with constructivist learning theory that is tied to the social aspect of cognitive development. Constructivism focuses on the learner’s need to connect their own experiences to new knowledge. It recognizes the learner’s place in the world and how students affect one another’s understanding. For this reason, the course was designed with a considerable number of group discussion and collaborative projects about social justice issues (Coupal, 2004).

    Methodology

    This mixed-methods case study analyzed the content students created over the course of the 16-week semester. First, each student story was coded and timed. Stories were coded for their social justice themes with nominal level variables. Social justice stories were defined as being about “fair treatment of all people in a society, including respect for the rights of minorities and equitable distribution of resources among members of a community.” Each story was also coded with a short description to find common qualitative themes. Stories that were coded as being about social justice included words like equality, inequality, justice, injustice, gender, racism, sexism, discrimination, Black, African American, Asian, white, Hispanic, low income, native, and poverty. 

    Because of a longstanding lack of diverse and female voices on American TV news, the analysis also looked at the racial and gender demographics of the interviewees featured in the newscasts. Interview subjects were coded as person of color or white, male, female or non-binary.

    Student racial and gender demographics were also noted as part of the study.

    Upon obtaining IRB approval, students who had been enrolled in the course were asked to complete an optional survey about their experience and offer recommendations that educators could implement to improve social justice instruction in schools. The survey included a mixture of quantitative and qualitative questions such as how informed students felt concerning social justice before and after the semester and open-ended questions asking students to elaborate on how their work impacted their understanding of social justice issues (see Appendix A).

    Findings

    In the spring 2021 semester, students in the Florida Focus class published three hours and 35 minutes of video news stories, with approximately 33% (one third) of this total sample being devoted to stories centered on social justice and equity.

    Common topics included racism in healthcare, policing and employment. Wealth inequality was a major focus, as was the digital divide that disproportionately hurts low-income and rural communities, especially when the pandemic forced people to work and learn remotely. Several students told stories that explored wealth inequality as it relates to gender.

    A Nielsen analysis of diverse representation on TV published at the end of 2020 found that women make up 52% of the American population but only have 38% of screen time (Nielsen, 2020a). In the Florida Focus class, 52% percent of interviews were with women.

    Thirty-six percent of interviews students conducted were with people of color. While Nielsen has reported that about 40% of the U.S. population is racially and ethnically diverse, they have also reported that people of color have less than 27% “share of screen” time on TV (Nielsen, 2020b).
     
    Twenty-seven students created content for the Florida Focus show in spring 2021. Approximately 55.6% of students in the class were female, 40.7% were male, and 3.7% identified as non-binary. Roughly 55.6% of students were white and approximately 44.4% identified as people of color.

    The demographic makeup of the students in the class was diverse. Thus, this case study provides an innovative opportunity for research to investigate the ways in which social identity theory can be used to encourage underrepresented student populations to create and disseminate content that is more balanced, representative, and culturally diverse (Hogg, 2018; Tajfel & Turner, 1986).

    Ten students completed the anonymous survey. Students rated their understanding of social justice issues as an average of 6.5/10 before they started the class and 9.1/10 at the end of the class.

    When asked to reflect on the stories they chose to tell, several students wrote about systemic injustice. They acknowledged that the media industry is part of the problem but can be a powerful tool to help fight the systems that continue to profit off repressing marginalized communities. Several students mentioned that while systemic injustice hurts them and their families, they were shocked to uncover how big the need is for systemic reform.

    One student wrote that reporting on stories during the pandemic gave them perspective and helped them better understand the country in which they live. “When I’d interview Black people who said they were just as afraid of cops as they were COVID-19, it just gave everything a new meaning and myself a new outlook. Everyone had a lot to worry about, but certain groups more than others.”

    This came in the midst of a pandemic that disproportionately killed people of color because of unequal access to healthcare (Garcia et al., 2020). It also came on the heels of a reinvigorated Black Lives Matter movement. Students were actively involved in community storytelling surrounded by public outrage over George Floyd and Breonna Taylor. Students expressed that they were deeply moved by the interactions they had with one another and members of their communities. “I learned how minority groups are given the short end of the stick when it comes to mental health help and resources. I also talked to people who were personally affected by racism in the United States and how it affected their mental health in the pandemic.”

    Students expressed feeling a stronger personal connection to the stories than they would have if they only read about social justice in a textbook, referred to as participatory or active learning (Domínguez, 2012). Such participation incorporates a level of interactivity that allows for mutual learning, where all parties involved see growth and benefit (Domínguez, 2012). Students reflected on the act of interviewing people and working with one another to develop these projects. “I interviewed over 10 people of different backgrounds relating to Black equality, opinion on social justice matters, police brutality, protesting, and representation. I’ve also conducted interviews with Native American activists regarding the same. It made everything much more personal. To see interviewees become emotional talking about their issues they’ve faced, it’s very hard but helps you form much more empathy and understanding for them.”

    A common takeaway was a better understanding of the need for representation as a solution to issues that plagued generations of Americans. Students appeared to connect the dots between America’s history of slavery, the 13th Amendment and our current prison industrial complex that is particularly extreme in the state of Florida where these students live. “I interviewed several people about their interactions and history with the criminal justice system, and how it marked them for life, and how they were set up for failure. The experience made me more determined to tell stories of the disenfranchised and really LISTEN to members of our community about their struggles.”

    The overwhelming sentiment in the survey revealed that interviewing people in their community led students to develop a stronger sense of moral responsibility to contribute to society. “Before taking this class I wasn’t sure what my responsibility as a journalist or a young adult was when it came to issues that didn’t directly affect me. I have realized how wrong I was and that it takes many voices to move mountains.”

    One of those realizations came from a student who used the survey to reflect on their time covering the school to prison pipeline. The student interviewed young women of color who were disproportionately punished because of the intersectionality of their race and gender. The student highlighted an organization that helps these young women get through school and stay out of the criminal justice system. In the survey, the student expressed outrage that they had not learned about this systemic inequality prior to taking this course. The student expressed that they were deeply affected by what they learned creating this project. This student, along with many others echoed the position of one student who wrote, “it made me feel a sense of duty to help and advocate for people from different backgrounds.”

    Another student wrote, “everything became much more personalized and humanized. When you gain empathy for a group of people, you want to help them and fight for them.”

    A common theme in student reflection about COVID-19 was that covering stories about social justice gave students perspective and a sense of purpose that helped them process their emotions and thoughts at a time when they too were struggling. Many wrote that it made them feel less alone. “It was helpful because I realized everyone’s going through their own personal struggles due to the pandemic.”

    Another student wrote, “it made me realize that although this pandemic is affecting everyone, minority groups are getting hit the hardest and no one was talking about it very much. Florida Focus taught me that, even if the mainstream media isn’t discussing these things, we have to.”

    Many students noted that they became more aware of misrepresentation in media and now feel a duty to use their platform to help underserved communities share their stories.

    When asked whether they felt that they were taught an adequate amount about social justice and equity before taking the class, most students said no. Many students wrote that their knowledge about these issues came mostly from social media, not school. One notable response to the survey highlights an approach educators can take to improve this, “I feel as though before I was learning my responsibilities through social media and other people my age. The content in academia was very much … ‘here’s a story, do it this exact way,’ all just to check boxes for a passing grade. With this class I feel like stories came first, grades came last. The freedom we had to choose stories and characters was unlike any other class I had taken before, that’s why I found it so valuable.”

    Students also noted that arming them with statistics about social justice issues before they started their projects helped them approach their assignments with more confidence. Many students noted that previous educators did not present social injustice using statistics and one student wrote because of that, they were “blind to the fact that there is still so much injustice in our society today.”

    When asked to explain the changes they feel should be made to the way schools teach social justice and equity, students agreed that it is important for teachers to facilitate an environment where students are not afraid to talk about social injustice. Students noted that they would like to see much more social justice education in K-12 and university curriculum. One student wrote, “social justice and equity should be built into any courses where they have relevance, because there is so much importance and nuance to these issues that it should be touched on as much as possible, with as much detail as possible.”

    They also recommended that educators incorporate more assignments where students meet with members of their communities. One student who created a video about an African American historic district wrote, “I learned so much about their influence on the culture of St. Pete, and I would’ve never known if I hadn’t gone there… These communities seemed as though they were left in the dust to fend for themselves, without any municipal help or awareness. Florida Focus brought me out of my comfort zone and into communities that needed a voice.”

    The survey concluded by asking students to share any final thoughts they have about this issue. One student wrote, “representation is so important and I think there needs to be more of it. To gain empathy there first needs to be understanding. The ignorance and lack of cultural understanding needs to be fixed so communities can be bridged.”

    Conclusion

    This iterative and collective process of instruction allowed for the students to reflect on their shared processes of identity formation and deconstruction throughout the semester while giving voice to issues of social justice. Results of this case study suggest that the use of social identity theory as a pedagogical tool in demographically diverse student populations shows great promise in helping students to feel as though they are being represented in the media. In addition, it makes them feel empowered to positively impact the world by altering the media landscape by providing more diverse sources and raising awareness of important social issues through the act of participatory journalism.

    Constructivist theory helped us foster a digital community during a time when emergency remote learning made so many students feel isolated. It empowered students and gave them the autonomy they felt they lacked in other areas of their lives. This theory acknowledges that every student comes to a class with their own life experiences which include discrimination and implicit bias. Since new student learning is built on an existing foundation, it is crucial that educators acknowledge how that foundation was built and how we can work together to accomplish mutually beneficial goals that foster equity and inclusion in our communities.

    If there ever was a time when social justice education was most dire, it is this seemingly never-ending pandemic year that exposed America’s darkest truths to students who felt ill-equipped to process the pain around them. The coronavirus pandemic destroyed millions of lives and reversed social and financial progress for those who needed it the most. But it also positioned educators to illuminate the path forward and seize this moment of anguish to inspire students to become part of the solution our country so badly needs. The pandemic undeniably exacerbated inequality. The poor became poorer. The wealthy grew richer. The disparities between men and women flourished as mothers were forced to sacrifice financial freedom for their families. Students watched as their family’s businesses shuttered. They watched as protesters took to the streets. They watched communities of color vanish as the death toll climbed to heights that desensitized the nation. This is the perfect time to teach students that these inequalities did not happen by accident. These inequalities are a symptom of strategic design. And because of this, students have the power and responsibility to do something about it.

    Appendix

    Demographic questions

    1. Are you of Hispanic, Latino, or of Spanish origin?
    2. How would you describe yourself?
      1. American Indian or Alaska Native
      1. Asian
      1. Black or African American
      1. Native Hawaiian or Pacific Islander
      1. White
      1. Latino
      1. Hispanic
    3. What gender do you identify with?
    4. What is your age?

    Survey questions

    1. Before enrolling in the Florida Focus class at USF, how informed do you think you were on issues concerning social justice, equity and community? On scale from 1 to 10, 1 being not informed at all, 10 being extremely informed.
    2. After taking the Florida Focus class, how informed do you now feel on issues concerning social justice, equity and community? On scale from 1 to 10, 1 being not informed at all, 10 being extremely informed.
    3. Please describe the stories and or visuals you worked on in this class and how they related to social justice, equity and community.
    4. Did you conduct at least one interview for this class that related to social justice, equity and/or community? If yes, please explain what the interview/s were about and how they affected your experience in the course.
    5. How did your work on these stories impact your understanding of social justice, equity and/or community?
    6. How did telling stories about social justice affect your ability to process your thoughts and emotions about the pandemic?
    7. Please reflect on and share how your view of social justice issues changed because of this class and why.
    8. Please explain if you feel that you were taught an adequate amount about social justice, equity and community before taking this class.
    9. Please explain the changes, if any, you feel should be made to the way schools teach social justice, equity and communities.
    10. Please feel free to share any other thoughts you have about social justice, equity and community as it relates to education.

    References

    Coupal, L. V. (2004). Constructivist learning theory and human capital theory: shifting political and educational frameworks for teachers’ ICT professional development. British Journal of Educational Technology35(5), 587–596. https://doi.org/10.1111/j.0007-1013.2004.00415.x

    Domínguez, R.G. (2012). Participatory learning. In: Seel N.M. (Ed.) Encyclopedia of the Sciences of Learning
    Boston, MA: Springer. https://doi.org/10.1007/978-1-4419-1428-6_1903 

    Garcia, M. A., Homan, P. A., García, C., & Brown, T. H. (2020). The color of covid-19: Structural racism and the disproportionate impact of the pandemic on older black and Latinx Adults. The Journals of Gerontology: Series B, 76(3). https://doi.org/10.1093/geronb/gbaa114

    Hogg, M.A. (2018). Social identity theory. In P.J. Burke (Ed.), Contemporary Social Psychological Theories (2nd ed., pp.112-139). Stanford, CA: Stanford University Press.

    Nielsen. (2020a). Shattering stereotypes: How today’s women over 50 are redefining what’s possible on-screen, at work and at home. Retrieved from https://www.nielsen.com/us/en/about-us/diversity-and-inclusion/inclusion-analytics/

    Nielsen. (2020b). Being seen on screen: Diverse representation and inclusion on TV. Retrieved from https://www.nielsen.com/us/en/insights/report/2020/being-seen-on-screen-diverse-representation-and-inclusion-on-tv/

    RTDNA. (2020, September 9). People of color in TV news. Retrieved from https://www.rtdna.org/article/2020_research_newsroom_diversity

    Tajfel, H. (1974). Social identity and intergroup behavior. Social Science Information, 13(2), 65-93. https://doi.org/10.1177/053901847401300204

    Tajfel, H., & Turner, J.C. (1985). The social identity theory of intergroup relations. In S. Worchel & W.G. Austin (Eds.), Psychology of Intergroup Relations (2nd ed., pp. 7-24). Chicago, IL: Nelson Hall.

  • How VR Will Shape the Future of Education

    How VR Will Shape the Future of Education

    While most of the world is understandably in over their heads trying to envision a time when the pandemic is finally under control, the futurists have already moved on to celebrating the unintended consequences of the coronavirus. The frantic shift to online learning forced schools, colleges and universities to adapt. But the beauty amidst this chaos is the freedom from stubborn fear of the unknown. While some schools are known for their innovation, American education as a whole has long lagged behind industry in technological innovation thanks to the educators who stand in the way of progress because change is scary. But now, we have become used to living in a constant state of fear and it somehow freed us from our shackles and forced the resistant ones among us to transition to, if not embrace, a culture of change.

    The pandemic fixed one of education’s biggest problems. It ripped us out of our comfort zone and showed us that we are capable of surviving massive disruption. People can adjust faster than most likely thought. So, the engineers who have been developing emerging technologies are now in an incredible place to ride this wave of adaptability and lead us into the future of mixed reality instruction faster than anyone could have imagined just one year ago. The country has perhaps never been in such an advantageous state of mind to usher in a new era of education that integrates pretty mind-blowing innovations in mixed reality technology (MR).

    The future classroom will look nothing like 300-seat lecture halls. It won’t be constrained to a place or even time. The future will look like autonomy from the structure that some theorists believed students needed to succeed in a learning environment. In the future, educators won’t struggle this hard to hold students accountable in endless Teams meetings that look like black holes only dimly lit by student initials because no one wants to turn on their web camera. In the future, parents won’t have to fight with their children to turn off the video games and do their homework because learning will be just as, if not more, entertaining and engaging as Fortnite and League of Legends.

    The future that awaits us has some exciting, interactive gamification. We will be greeted by new iterations of virtual reality (VR) technology with stronger mixed reality integrations as more companies develop ways to enhance augmented reality (AR) with VR and vice versa. Other companies, like Alteredux for example, are taking it a step further, even integrating video conferencing, AR, VR, MR and artificial intelligence. Textbooks will come alive as 3D digital animations, photos and videos jump off pages and into mobile devices thanks to AR QR codes.

    VR is without a doubt the future of education. VR offers solutions to so many of education’s mounting problems. The coronavirus isn’t going away tomorrow and the affects it made on remote working will be imprinted in our country’s industries forever. The pandemic accelerated and highlighted the need for a solution to boredom, isolation, distractions, campus infrastructure and costly faculty salaries. Not only can VR help schools bounce back from this trying year, it can also greatly enhance learning. Since Jaron Lanier was first credited with coining the term VR in 1987, the technology has dramatically improved, as has its ability to create meaningful learning experiences for students.

    The augmented reality company Zappar is also investing in more virtual reality technology. They just launched a kickstarter campaign for a project they’re calling ZapBox. This would integrate some of the AR technology Zappar is known for with VR to elevate mixed reality to a new dimension. ZapBox is expected to be relatively less expensive since it relies on a smartphone instead of a gaming console. The $40 price point would make this VR tool more accessible. Zappar also says the headset is much more customizable for different smartphones than many mobile headsets. This integration of AR and VR is likely to be a much larger part of the future of education. As of Nov. 26, 2020, 703 people pledged over $76,000 to launch this new tool (ZapBox, 2020).

    While 360 degree video in mobile headsets is a phenomenal teaching tool to immerse students into photos, videos and animations, the next iteration of VR will change the game for educators. Several companies are now working on integrating wearable VR haptic suits with full-body tracking. As of Dec. 4, 2020, Shockwave raised $108,423 on kickstarter for a new VR spandex jacket that allows people to feel everything from a gentle touch of a hand to an explosion. The vibrations elevate the user’s senses to not only see and hear in VR but to literally feel the environment they’re in. This specific technology is designed to work with Oculus Rift, Oculus Rift S, Oculus Quest 1 & 2, HTC Vive, HTC Vive Pro, HTC Vive cosmos, and Valve Index. 

    Some companies like Immersive VR Education are already winning awards for their VR tools that include ground-breaking production value. In 2019, the Berlin Blitz collaboration with the BBC won Best VR Experience at the Digital Broadcast Awards. This cinematic VR experience immersed students in the middle of an intense WWII battle. They were recognized for accurately recreating historical events using mission data and voice recordings from 1943 (“Berlin Blitz,” 2019).

    Immersive VR Education proves there’s financial incentive for educators to invest in VR. According to their September 2020 annual report, their revenue increased by 37% since 2019 (“VR Education Holdings,” 2020). The chief executive credits part of their recent success to the growing need for physical distancing because of the pandemic.

    In addition to the increase in VR instruction, the future of this emerging technology will also increase access for students, teachers and instructional designers to create their own virtual content. A lot has changed since WordPress and YouTube launched new initiatives to make VR more widely available. In 2015, YouTube began supporting 360 degree videos on its platform (Wilms, Verma, & Bengali, 2015). Shortly after in 2016, WordPress enabled everyday users to enhance their websites with VR (“Embedding 360°”). This was an important step to democratizing VR content publication (Alba, 2015).

    Since then, several educators have launched innovative VR curriculum. Robert Hernandez from USC Annenberg’s School of Communication and Journalism launched a VR storytelling project called Jovrnalism. Using 360 degree cameras and photogrammetry, Hernandez teaches students how to create immersive stories that enhance empathy and compassion. One project aimed to show people what it’s like to be homeless. Students set up a 360 degree camera inside a homeless person’s tent and edited a day in the life VR video to humanize people who are so often misunderstood and overlooked. VR’s ability to increase empathy is only beginning to be tapped. The future of VR in education will not only make history lessons more fun, it will also arm educators with a powerful tool to teach emotional intelligence and compassion, especially when the students are the ones creating the content (Hernandez, 2018).

    This prediction is reinforced by several studies that found VR can make students feel “more committed and motivated” (Kerawalla, Luckin, Seljeflot, & Woolard, 2006). It is also consistent with a constructivist approach to learning that promotes a “full student-centered learning experience, given that students are main performers when experimenting and practicing with virtual objects,” (Winn, 2002). VR empowers learners to literally construct their own knowledge. The collaborative potential in VR education also suggests what Lev Vygotsky theorized that collaborative and social interactions can greatly enhance cognitive development (Padgett, 2020).

    The implications for elevating an immersive multimedia experience to one where students can feel the environment around them opens an entirely new world where educators can grab the learner’s focus and truly offer them a visceral experience that lead to emotions that have been found to strengthen memory and activate learning in the brain.

    In a 2018 study, researchers at the University of Maryland found that people recall information better when they use VR compared to 2D learning tools. Of the 40 participants, researchers found an 8.8% increase in memory for those who viewed images in a virtual environment instead of a desktop computer (Krokos, Plaisant, & Varshney, 2018). Part of the reason VR may have been a more effective learning tool is that study participants said they could focus better in VR. With the increasing distractions vying for our students’ attention, a tool that helps learners focus could be a game changer. This is especially true in the wake of a global pandemic.

    In June 2020, Béatrice Pudelko explained that people’s struggle to concentrate during the pandemic is directly tied to neuroscience. As students fight back thoughts of anxiety and isolation, it becomes harder for them to focus on learning. Pudelko says that’s because people are “not only highly sensitive to the emotional charge of their perceptions but they are also unable to ignore it.” Her research suggests the more cognitive effort a learning assignment requires, the more easily students are likely to struggle with concentration.

    This is where VR comes in. While VR is immersive and interactive, it requires much less tedious cognitive effort than say reading a text book. If we can reduce the effort students must put into an activity, they can focus on the experience and, according to Pudelko, will be less distracted, thus increasing learning. (Pudelko, 2020)

    Even before we could see what VR would become, educators began predicting that an immersive experience may enhance learning because of the way the brain processes the unexpected. One study looked at how the physiological response confirmed predictions in the associative learning theory. In a functional magnetic resonance imaging (fMRI) study of causal associative learning they found that “dorsolateral prefrontal cortex (DLPFC) is associated specifically with the adjustment of inferential learning on the basis of unpredictability” (Fletcher. Et al. 2001).

    While many are embracing the potential benefits of VR in education, there are some concerns that will need to be addressed to improve access and equity. Cost is by far the most commonly published concern in regard to VR technology; not just the cost of buying a headset, but the development of VR experiences.

    Some VR headsets may require a high-end PC to operate. Others may require a gaming console like PlayStation. Some require external sensors or monitors and may be complex to set up. Some require mobile devices. Some headsets like Samsung Gear VR and Google Expeditions have reported overheating which may lead to disruption if the device needs time to cool down (A Guide to VR & AR in Education).

    To create VR content, a 360 camera would be a common requirement which may be out of the budget for some teachers and students. But, smartphone cameras increasingly capture panorama photos that, while not completely 360 degree, do integrate into some social media and VR platforms.

    Because of the budget cuts schools are now facing thanks to the coronavirus, my recommendation is that schools start now with what they can control. There are many free 360 degree videos on YouTube that teachers can start embedding into their learning management systems. Starting here will help transition some educators who may be hesitant to jump head first into VR content creation.

    Another less intimidating place to start is by using mini clip-on VR glasses. These lightweight and often foldable VR glasses simply clip on to a smartphone and easily work with VR videos on YouTube. If schools buy these in large batches, they cost about one dollar each. If a teacher or student wants to buy one on their own, they can find different brands online that go for well under $10.

    Many university libraries like the University of South Florida, for example, now allow students and educators to check out 360 degree cameras for free. I recommend that teachers consider recording 360 degree videos of experiences that are now hard to recreate because of COVID-19 safety restrictions. For example, a marine biology teacher can take a 360 degree camera to record a lecture on the plants and animals that live along the waterfront. Anthropology teachers can bring a 360 camera onsite to teach students about a specific place that might be hard for the entire class to travel to. One of the ways I used a 360 degree camera this semester was to record a VR lighting demonstration for my TV news students. This allowed students to look around to see where they should set up the lights and cameras.

    While educators wait for administration to unfreeze budgets, they can apply for innovation grants that may cover the costs of VR headsets for their students. My biggest recommendation is that teachers just start using it themselves. They need to force themselves to become comfortable with the technology that the consumer gaming industry shows us is more commonly used by our students. Not only do we need to start meeting our students where they are, we also need to step it up and take the initiative to learn about these new tools so that we can give our students reasons to want to learn. Let us show them how we can take a devastating pandemic and turn it into a catalyst for innovation. Let us lead the way to show our students that we can adapt and thrive in the face of tremendous challenges.

    References

    1943: Berlin Blitz in Collaboration with the BBC: Immersive VR Education. (2019, September 02). Retrieved from https://immersivevreducation.com/products-vr-experiences/berlin-blitz/

    Alba, D. (2015, November 05). YouTube’s Grand Plan to Make VR Accessible to Everybody. Retrieved from https://www.wired.com/2015/11/youtube-360-virtual-reality-video/

    All-new ZapBox: 6-DoF Mixed Reality for $40. (2020, November 26). Retrieved from https://www.kickstarter.com/projects/all-newzapbox/all-new-zapbox-awesome-mixed-reality-for-40?ref=6byho3

    Embedding 360° Photos and Virtual Reality (VR) Content. (2020, October 06). Retrieve December 05, 2020, from https://wordpress.com/support/embedding-360-photos-and-virtual-reality-vr-content/

    Fletcher, P., Anderson, J., Shanks, D. et al. Responses of human frontal cortex to surprising events are predicted by formal associative learning theory. Nat Neuroscience 4, 1043–1048 (2001). https://doi.org/10.1038/nn733

    Hernandez, R. (2018, December 31). USC students produce Homeless Realities: HOMELESS REALITIES: Immersive project by JOVRNALISM. Retrieved December 06, 2020, from http://homelessrealities.jovrnalism.io/2018/12/31/usc-students-produce-homeless-realities/

    Immersive VR Education. (2020, September 10). VR Education Holdings plc [Press release]. Retrieved December 03, 2020, from https://www.immersivevreducation-ir.com/docs/librariesprovider26/archive/results/interim-results-for-the-six-months-ended-30-june-2020.pdf

    Krokos, E., Plaisant, C., & Varshney, A. (2018). Virtual memory palaces: Immersion aids recall. Virtual Reality, 23(1), 1-15. doi:10.1007/s10055-018-0346-3

    Padgett, D. (2020, November 30). Learning Theories: Understanding the 4 Major Ones for the Classroom. Retrieved from https://www.leaderinme.org/blog/learning-theories/

    Pudelko, B. (2020, June 08). Having trouble concentrating during the coronavirus pandemic? Neuroscience explains why. Retrieved December 04, 2020, from https://theconversation.com/having-trouble-concentrating-during-the-coronavirus-pandemic-neuroscience-explains-why-139185

    Wilms, K., Verma, S., & Bengali, H. (2015, November 05). YouTube presses play on virtual reality. Retrieved December 04, 2020, from https://blog.youtube/news-and-events/youtube-presses-play-on-virtual-reality

  • Podcasts For Journalists

    Podcasts For Journalists

    Think you’re too busy to learn more? It’s time you do an inventory to identify when you could be multitasking with these journalism podcasts.

    I squeeze in hours of extra learning while I’m:

    • making coffee
    • showering
    • brushing my teeth
    • doing my hair
    • getting dressed
    • driving to work
    • walking anywhere
    • grocery shopping
    • at the gas station
    • exercising
    • doing laundry
    • cooking

    When I was a college student, teachers actually made us read textbooks! Now, I try to make learning as convenient as possible for my students. Here are some of my favorite episodes that will help you become a better storyteller while you’re stuck in traffic or at the grocery store.

    Podcasts about interviewing

    The Turnaround podcast is a great resource for behind-the-scenes trade secrets and tips. Jesse Thorn interviews some of America’s best interviewers about interviewing. Here are a couple episodes that are particularly relevant to new journalists. The Turnaround is available on MaximumFun.org. You can also subscribe on Apple Podcasts.

    Podcasts about writing and storytelling

    Most of these episode suggestions are from WriteLane, a podcast by Tampa Bay Times reporter Lane DeGregory and editor Maria Carrillo.

    Podcasts about media

    Podcasts about injustice

    Podcasts about social media

    Podcast about storytellers

    Becoming Storytellers is a podcast by TV anchor Venise Toussaint. She interviews storytellers about what it’s like working in the biz.

    Podcasts about immersive storytelling and AI

    Podcasts about politics

    Podcast about getting an internship/job in media

  • How to develop and pitch a story

    How to develop and pitch a story

    Before you pitch a story, you need a story to pitch. Need help getting started? For helpful websites where you can “find” ideas and examples of great stories, check out this post about story ideas.

    Before we get into tips for pitching the best story, we need to talk about the preparation a good journalist does to develop the story idea before the pitch. Students often ask me where I find story ideas. I think it helps to shift our thinking away from “finding” an idea which insinuates that we just stumble upon them. Sure this can happen sometimes, but with solid enterprise stories that often make the biggest impact on your audience (and your career), you should spend time developing a unique and thorough plan for your story.

    Has anyone covered this before?

    One of the first things you should do in the story pitch process is to see if anyone else has covered this story in the past. It shocks me how many reporters skip this important step only to discover hours into their work that someone else already reported on the story.

    There are a few issues here. First, you waste time. Second, you may be chasing a story angle that’s already been done so your story won’t be unique. When you pitch, you should reveal to your editor or producer how this story has been covered, who has covered this story before and how your version of the story will offer the audience additional and unique value.

    Don’t pitch a topic, pitch a story

    A good way to get your pitch denied is pitching a topic like poverty, war, homelessness, etc. Stories are much more focused. Stories have plots with characters, action, drama and suspense. Instead of pitching a broad topic, you should pitch a specific story with specific people who you’ve already researched and reached out to.

    Why now?

    Your pitch should explain why your story should run now. Even if your story isn’t a breaking news event, there should still be a reason why your audience should care now. Why is this relevant now?

    Once you ask yourself this question, you’ll find yourself doing a bit more research that will not only prepare you to pitch, but it will give your story context. If you can tie a story to a topic, you’ll find a much greater response from your editor or producer, and your audience often walks away from the story having learned something new.

    What’s the big picture?

    Your story can help your audience understand a bigger picture. If you’re doing a feature story about a cancer survivor, then find out how many people have this cancer and what the audience can do about it.

    If you’re doing a story about a center that helps at-risk kids stay in school, find some statistics about the school to prison pipeline that explain how these kids got into trouble and why it’s important to save them from the system. Use this as an opportunity to enlighten your audience about the role they play in perpetuating injustice so they can be more informed voters.

    If you’re covering a bill or amendment, don’t just focus on that specific bill. Explain the context in which the bill is being proposed. Have similar bills failed in the past? Why? Helping your audience understand the big picture will help them see how they are affected and why they should care.

    You should also have fact-checked links to studies ready to go from credible sources to back up any claims you make in your pitch, for example, the Pew Research Center.

    Why you?

    Why are you the reporter who should cover this story? What expertise and connections do you have that make you credible to tell this story? Have you done similar stories before? If you fail to address this question during a pitch, your boss may give your amazing story idea to your coworker.

    The pitch

    Once you’ve done your research, it’s time for the pitch. Most reporters pitch stories in editorial meetings with a room full of journalists who are in a rush to get to work. So the most important part of your pitch is that it’s concise.

    Start with the best story pitch. Yes, you’re expected to pitch more than one idea if your pitch isn’t approved. Make sure you start with one or two sentences that clearly sums up all of the points we just discussed.

    Don’t forget to explain what steps you’ve already taken to further the story. For example, if you already have an interview scheduled, this will help convince your manager to let you pursue the story. Don’t mislead your manager. You want to overdeliver, not leave them disappointed.

    Your manager might be quick to dismiss your idea. Know when to keep fighting and when to move on. If you’re going to fight for the story, it better be good. But don’t be afraid to explain the value your manager may have missed from your pitch. Just do it quickly.

    If you cannot convince your manager to let you pursue this story, move on to your next pitch quickly and professionally.

    Don’t get discouraged

    When you first start pitching stories, it’s common to be turned down. Don’t give up. This is part of the process and you are not alone. Every reporter and editor go through this learning curve so it’s important to remember to learn from your pitches. If your manager says no to a pitch, ask why so you can tailor your pitch to them next time.

    Don’t get discouraged. It is very common to have to work through many pitches before one gets approved. That is why it’s important to always come prepared to a pitch meeting with several pitches ready to go. When you’ve had a few years of experience, you may only need about three pitches a day. But when you’re starting, aim for at least five to increase your chances of getting one approved.

    Practice makes perfect

    Like many things in journalism, you just have to practice. The more you pitch, the more confident you’ll become.

    Here are some great tips from Yusuf Omar

    Here are some tips from NPR

    Here are some more tips from the Solutions Journalism Network

  • How to edit and share 360 photos

    How to edit and share 360 photos

    360 camera

    You can create 360 photos by checking out the Ricoh Theta S Spherical VR Digital Camera (free at the Digital Media Commons). You can also use a fish-eye lens on a DSLR and stitch six photos together, but the Ricoh is an easier camera to start with since it stitches automatically for you and you don’t have to move your camera.

    Pair your Ricoh Theta S

    1. Download the Ricoh Theta app (for both iPhone and Android).
    2. Turn on the camera by pressing the button on the side.
    3. Turn on the wireless function by pressing the button underneath the power button.
    4. Select the camera serial number in your phone’s wifi network list and enter the password on the bottom of the camera.
    5. The password is initialized by pressing and holding the wireless button while the power is on.
    6. When the wireless connection is complete, the wireless lamp lights blue.
    7. In Still Image Shooting mode, you can set the ISO sensitivity, shutter speed, white balance, shooting method, image size, and turn live view and post view on or off.

    Camera manual: https://support.theta360.com/en/manual/s/

    360 photography tips

    Everything is in the photo so pay attention to what is behind, underneath and above you.
    Pick a relevant and visual location. Your entire location should tell a story, not just one direction like a regular photo.

    It’s much harder to light a 360 photo so look for opportunities to shoot outside in even lighting when you’re getting used to the camera settings. Avoid shooting a 360 photo at night. 

    People and things need to be much closer to the camera than you think because the fish-eye lens significantly distorts the image.

    Are you part of the story? No? Then you’ll need to hide so you don’t get in the shot.

    If you can remove your tripod handle, do it. This will save you a lot of editing time because you’ll have to remove the tripod below the camera. A light stand or monopod is easier to edit out.

    Avoid holding your 360 camera because your hand will take up more of the frame than you realize.

    Viewing your 360 photos

    You can view the 360 photos on your phone, but I suggest transferring them to your computer to edit. You can airdrop or plug the camera directly into your computer thru USB to move the files into a folder.

    Note for Mac users: Ricoh Theta doesn’t mount as a disk in Finder, but you can search “image capture” in your computer’s spotlight search to access the 360 photos off the camera.

    Your photo will look equirectangular like this:

    The Insta360 player will help you view it like this:

    To view 360 photos while you edit, download Insta360 Player here: https://www.insta360.com/download/insta360-one

    You can also use this player to take a screenshot that you can use as your WordPress featured image. This will help you avoid distorting the image.

    Editing 360 photo in photoshop

    Open your 360 photo in Adobe Photoshop to remove the tripod.

    You can also add text to your photo, just keep in mind that it will be wrapped inside a sphere when you view it in a player.

    Main takeaways from video tutorial. Using Content-Aware:

    1. Use the lasso tool to select the tripod
    2. Click edit
    3. Select fill
    4. Content aware
    5. Click OK

    Using the clone stamp tool:

    1. With the Clone Stamp tool selected, position the cursor over the area you want to clone and then Alt-click (Windows) or Option-click (Mac) to define the clone source.
    2. Position the cursor over the area where you want to paint the cloned pixels and then start painting.

    Editing 360 photo in lightroom

    Once your tripod is gone, import your photo into Adobe Lightroom https://helpx.adobe.com/lightroom/tutorials.html

    The auto features in Lightroom are phenomenal. You may also want to consider lifting more shadows, adding vibrance and reducing highlights.

    When you export, compress your file to 5,000 KB so it can be uploaded into a free compression website.

    Why compress?

    This may be the most annoying thing in the world:

    Your audience won’t put up with a slow website. Boost your user experience (UX) by making your site lighter. A 250 MB photo may not look that much better than a 5 MB photo if you compress it correctly.

    Upload your 360 photo into Optimizilla here: https://imagecompressor.com/

    You can zoom in and adjust the slider bar to see how the resolution will look as you compress your file.

    Uploading 360 photo to WordPress

    Upload your photo to the WordPress media library and copy the image URL.

    In a new WordPress.com post, add a block and search “shortcode.”

    Then add this code to display your photo in 360:

    Replace “path-to-photo.jpg” with your photo URL.

    When you click “preview” you’ll see your shortcode now looks like this:

    The shortcode will also allow a user to view the photo in a mobile VR headset.

    Posting 360 photo to facebook

    Editing your 360 photo will remove some metadata that Facebook needs to display your photo properly. You can add the metadata back in by downloading the Exif Fixer here: http://panoramaphotographer.com/software/exiffixer/

    1. Select Equirectangular
    2. Click Insert Fake Camera Data
    3. Select the Ricoh Theta S from the dropdown menu
    4. Select North
    5. Click “Add Metadata”

    360 video

    If you want to create a 360 video instead of a photo, here is a helpful guide to editing 360 video: https://studio.knightlab.com/results/storytelling-layers-on-360-video/how-to-edit-360-video-in-premiere/

    A 360 video can be uploaded to YouTube so your audience can view the video on a cell phone (with or without a VR headset) or on a computer. Here are some 360 videos.

    Additional resources

  • Criminal Justice & Institutional Injustice

    Criminal Justice & Institutional Injustice

    Institutional injustice stems from hundreds of years of bias against people based on things like their race, ethnicity, gender, sexual orientation, gender identity, education and lack of wealth.

    Journalists should strive to make our country more just. Journalists hold powerful people accountable so they can’t use their status and money to create an unfair advantage. Since America is a capitalistic society some inequality is seen as “fair.” Sometimes a person’s achievements can be credited to their hard work. But oftentimes, an American’s success was earned off the backs of those who were systematically held down. To accurately report on our society, journalists must understand where different types of inequality come from.

    Today, we’ll take a look at just a few of the common misunderstandings in our society and criminal justice system.

    Can a race be won fairly if it was rigged from the beginning?

    Mass Incarceration

    America’s mass incarceration problem is growing fast. The NAACP’s Criminal Justice Fact Sheet points out some alarming numbers. Here are just a few:

    • Between 1980 and 2015, the number of people incarcerated in America increased from roughly 500,000 to over 2.2 million.
    • Nationwide, African American children represent 32% of children who are arrested, 42% of children who are detained, and 52% of children whose cases are judicially waived to criminal court.
    • African Americans and whites use drugs at similar rates, but the imprisonment rate of African Americans for drug charges is almost 6 times that of whites.

    You can’t talk about mass incarceration without talking about race. The Prison Policy Initiative looked at data from the following sources to show just how unequal America’s incarceration rates are.

    Data sources:

    White Black Hispanic
    U.S. population 62.1% 13.2% 17.4%
    Jail incarceration 47.4% 35.4% 14.9%
    State & federal incarceration 33.6% 35.4% 21.6%
    Life sentence 33.4% 48.3% 14.4%
    Life without parole sentence 33.5% 56.4% 7.4%
    Death row population 42.5% 41.7% 13.0%

    FL_Rates_2010.png

    NATO_FL_2018.png

    In 2016, the Prison Policy Initiative estimated that in the United States, about 2,298,300 people were incarcerated out of a population of 323.1 million.

    The United States has the largest prison population in the world and the highest per-capita incarceration rate, according to World Prison Brief.

    Visually (http://Visual.ly) facilitated the creation of this video. http://youtube.com/kurzgesagt created the animation. The Prison Policy Initiative helped conduct research and fact-checking. (http://www.prisonpolicy.org).

    VICE’s Justice series examines the winners and losers of the for-profit criminal justice system. Imprisoning people for being poor has technically been illegal in this country for two hundred years, but it is still a reality. Municipalities with small, low-income populations and correspondingly low tax bases regularly pay their salaries, and pad their budgets by issuing “quality of life” and traffic fines to people for minor offenses—and sending them to jail if they can’t pay.

    In part two of VICE’s investigation into modern-day debtor’s prison practices, we explore the phenomenon of private probation companies. To avoid paying for probation services, thousands of courts currently outsource probation to for-profit companies which charge people exorbitant fees for their own probation. Failure to pay is treated as a violation of probation, punishable by jail time, which extorts cash from already-struggling people.

    Voting Rights

    In November 2018, voters in Florida passed Amendment 4, restoring voting rights to one million ex-felons (people convicted of murder or felony sex crimes did not regain their right to vote).

    In 2016, more than 418,000 black people out of a black voting-age population of more than 2.3 million, or 17.9 percent of potential black voters in Florida, had finished sentences but couldn’t vote due to a felony record, according to the Sentencing Project.

    What Journalists Should Cover

    If all of this upsets you and leaves you feeling overwhelmed and powerless, don’t get discouraged. There are things you can do as a journalist to inform the public about what’s happening so they can vote for people who serve in everyone’s best interest.

    Here are two phenomenal investigative infotainment episodes of “Last Week Tonight with John Oliver.” The first one explains how prosecutors and plea deals work, or rather, don’t work.

    This episode shows us how powerful our elected officials are. When was the last time you saw a story about an attorney who was running for office? There are simply not enough journalists dedicated to covering these powerful people who often get away with murder while the media focuses on bigger races like senator and governor. You can take a stand in your newsroom and do some digging so your audience can actually make an informed decision about the names at the bottom of their ballot.

    Let’s Talk About Privilege

    As a journalist, you can’t cover injustice without understanding privilege. We’re all privileged in one way or another. But I’m talking about systematic privilege, specifically white privilege. If you’re a white journalist, do you understand your own privilege? Will you use your privilege for the greater good?

    It’s discussion time. We’re going to listen to a song and some podcasts. We’ll then discuss how we can fairly and accurately report on people with different ethnicities, races and religious backgrounds.

    Acknowledge your own privilege and then do something about it.

    Let’s listen to this Macklemore song and discuss what it makes you feel. Does this make you feel heard? Hopeful? Guilty? Upset? Why?

    Make newsrooms look like the communities they cover.

    Newsrooms are still much whiter than their readers, viewers and listeners. Yes, white people can and must cover minorities. But acknowledging your privilege will only take us so far. We need to improve hiring practices so our journalists, and managers, actually represent the people.

    New Report Examines Diversity in America’s Newsrooms

    Listen and discuss: https://www.wnycstudios.org/story/how-diverse-are-americas-newsrooms/ 
    https://www.wnyc.org/widgets/ondemand_player/wnycstudios/#file=/audio/json/857275/&share=1

    Tanzina Vega: ‘Change Is Happening’ In Newsrooms

    Listen and discuss: http://www.wlrn.org/post/tanzina-vega-change-happening-newsrooms

    Additional Resources

  • Want to succeed? Do this.

    Want to succeed? Do this.

    1. Take initiative and push yourself harder. DON’T BE LAZY.
    2. Be nice.

      Your classmates and I will help you get paid to do a job you love. Treat this class as a professional environment. People are watching the way you behave. If you act right, it will help you for years to come. If you’re a jerk, people won’t help you succeed.
    3. Never ask me (or anyone else) anything you can easily find on Google like event details, addresses, contact info, hours of operation, etc.

      It’s super rude to waste people’s time because you’re too lazy to check your own phone.
    4. Show me your videos as soon as you shoot so I can give you advice on how to make your project amazing (be warned this may mean re-shooting your video so don’t wait until it’s too late). When I give you feedback in person, take notes. Don’t come back later and tell me you forgot everything I said.
    5. Subscribe to the Zimmerman School Digital Network at USF on YouTube. Watch the videos, like, share and tag. Helping your classmates = good karma. Want views and likes on your own videos? Start by supporting your classmates and soon your analytics will grow organically.
    6. Follow me on Twitter and read everything I post (at least skim the headlines) @JnetAbrahamsen. Subscribe to my lists for story ideas.
    7. Follow @USF_ZSAMC on Twitter. Follow your classmates on Twitter, then like and share their posts.
    8. Follow usfzschoolmc on Instagram.
    9. Don’t post anything on social media that you wouldn’t show a hiring manager during a job interview. DELETE anything that doesn’t make you look like a reliable, trustworthy and credible worker.
    10. Download news apps and allow push notifications.
    11. DO NOT VIOLATE COPYRIGHT LAWS.
    12. Write like a human. Just because you’re in college doesn’t mean your writing should be arrogant. You’re writing for the masses, not an academic journal. Use simple words well.
    13. Kill it on all of the photography/videography basics like the rule of thirds. Don’t ever accidentally over backlight an interview. Don’t shoot in the shadow of a tree. Shoot an extreme number of extreme close-ups.
    14. Try out digital media apps that make it more efficient to create cool videos, images and graphics.
    15. Use YouTube’s free music library (and properly attribute songs in your video descriptions)
    16. Learn new (and modern) video effects, transitions and text animation in Adobe Premiere Pro. Here are some tutorials.
    17. Use free After Effects templates to elevate the quality of your videos. Motion Array is my favorite. There are free and paid templates.
    18. If you’re going to be on camera, be creative and active.
    19. Get certifications using your FREE LinkedIn Learning account.
    20. Check out free equipment at the CIS video lab.
    21. Don’t forget extreme close-ups. Like LOTS of them. Always shoot more b-roll than you think you need because not all of it will be amazing.
    22. Ask yourself, “would I watch this if it wasn’t mine?” If not, try harder.
    23. Follow the rules until you’re good enough to break them.