Journalists who are devoted to strictly factual reporting take particular pleasure from satirical news outlets that have the liberty to laugh and even mock the hypocrisy that reporters and editors must simply observe without comment.
In my day a reporter who took an assignment was wholly on his own until he got back to the office, and even then he was little molested until his copy was turned in at the desk; today he tends to become only a homunculus at the end of a telephone wire, and the reduction of his observations to prose is commonly farmed out to literary castrati who never leave the office, and hence never feel the wind of the world in their faces or see anything with their own eyes.
I think it's very useful for you folks (reporters) to try your damndest to be precise. And don't repeat things that are inaccurate if you can possibly avoid it. And when you see things that are inaccurate, knock them down -- because there's a bucket of it floating around.
I think of myself as a kind of reporter; I report on the nature of certain events. I think of art as a report on civilization at a certain time.
Reporters immediately push their interviewees into the most extreme version by saying in a shocked tone, 'Well, are you saying that ..." They're trying to make people be as hostile and opposed to each other as possible because they think only conflict is news.
I'm more often confronted by women who come from religious traditions and don't feel that they have a place in the feminist movement. I've felt pressure when reporters asked me, "Do you believe in God?" I do say, "No. I believe in people."
By this point, it was clear she wasn't interested in continuing the relationship. What publication on earth would continue a relationship with a writer who would refuse to discuss her work with her editors? What publication would continue to publish a writer who attacked it on TV? What publication would continue to publish a writer who lied about it - on TV and to a Washington Post reporter? ... It's true: Ann is fearless, in person and in her writing. But fearlessness isn't an excuse for crappy writing or crappier behavior.
Whenever a reporter is assigned to cover a Methodist conference, he comes home an atheist.
Lexicographers are language reporters.
I was the only woman fooling around with a camera in the streets and all the reporters laughed at me. So I became a fighter.
Everything is a narrative in life. I learned that early on as a reporter at the Washington Post.
I think my wife ... is sure of my loyalty.... She knows how hard I work. She knows how tired I am every night. She knows I have fifty or sixty reporters watching me day and night.
In language at once stark and delicate, Suki Kim shatters the polemic of North and South Korea. She couples an investigative reporter's fierce desire to strip away the fiction of the Hermit Kingdom with an immigrant's insatiable hunger for an emotional home, no matter how troubled and no matter how impossible.
I was asked by an NPR reporter once, why don't I talk about race that often. I said it's because I'm a neurosurgeon. And she thought that was a strange response. And you say - I said, you see, when I take someone to the operating room, I'm actually operating on the thing that makes them who they are. The skin doesn't make them who they are.
When I was 15 or 16 and I started climbing up the ladder of success in amateur boxing, a reporter asked me, "What do you want to be?" I think he was expecting me to say, "A champion." I said, "I want to be special." I don't know why I said that, but I didn't just want to be a fighter. I wanted to have an impact with people, particularly kids.
Foreign correspondence has a natural element of romanticism - and this could be seen as soon as that class of professional reporter emerged in the last half of the 19th century.
I sort of think in a way that many of us young reporters who had the opportunity to go overseas for our organizations were kind of, in a sense, war profiteers. We were enhancing our careers while covering that terrible conflict.
Reporters aren't stupid. We were standing around talking about which of the 900 health-care proposals that nobody's going to accept is that day's hot news. They know how silly that is. But that's what they do.
I don't do research for my novels. Obviously, in my other line of work as a reporter and a columnist, I've had the opportunity to get to know both social workers and TV talk-show hosts.
And there are two types of stories. One type is one's own story. The other type is telling the stories of others. Thanks to this genre, writers of nonfiction can now use the tools of the reporter, the points of view and ear for dialog of a novelist, and the passion and wordplay of the poet.
To this day it cracks me up to think that my debut on national British television as a reporter ends with me turning a trick.
People don't live their lives in a series of scenes that form a dramatic narrative, they don't speak in dialogue, they're not lit by a cinematographer or scored by a composer. The properties of real life and the properties of drama have almost nothing to do with each other. The difference between writing about reporters and being a reporter is the same as the difference between drawing a building and building a building.
Being a reporter is one of the noblest things you can do in life. Letting the people know. It's really a holy cause. Time after time after time, in the middle of corruption and disgrace and bad politics, I've seen people come through and do for people. I write about someone in trouble and someone else rallies to help them. Through reporting, things can change.
In 2014, impunity in journalism murder cases reached a staggering 96 percent and the remaining 4 percent obtained only partial justice, we have become targets. Insurgent groups no longer use reporters to transmit news, but instead kidnap them to make news. They treat us as enemy combatants and spies. This is our everyday reality.
I got my start in lefty journalism as a labor reporter at 'In These Times', and it's in my blood.
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