edithhopegardenjournal

Most media companies claim they are creative, believing that merely producing  content makes them inventive and artistic. Most media firms are not particularly creative, however, and we recognize it daily as we are confronted with formulaic and derivative content of limited quality. But some companies are consistently notable for unique and ground-breaking content that meet higher standards. What makes them successful is their ability to manage creativity. The concept of managing creativity may at first seem like an oxymoron. Anyone who has worked with talented writers, designers, directors, actors, or musicians knows that the muse of creativity is capricious and does not present itself on a predictable schedule. This does not mean it is impossible for an enterprise to manage creativity, however. Organizations that consistently produce highly creative content spend a great deal of effort managing the environment and processes in which creativity takes place. They do so to make certain

Media ownership transparency has become a goal of media reform advocates on both sides of the Atlantic, but is often simplistically presented as a solution to problems in media performance. As I have shown in my research over time, it is not the form of ownership that matters, but the owners themselves. There are good and bad corporate owners, good and bad private owners, good and bad family owners, and good and bad foundation owners. And many owners whose media perform badly on issues of social service and public interest don’t care if the public knows who they are. This is not to oppose making it easier for the public to know who the owners are—in some cases (especially in southeast Europe) owners sometimes hide behind shell companies, investment firms holding their shares, and even individuals fronting for them. Gaining transparency may help identify consolidation and concentration for antitrust and pluralism analyses, but lifting those veils alone is not going to solve the issue th

I opened my Yahoo home page today and read the news headline “Outgunned Kurds Beg US for Weapons to Battle ISIS” and its lead paragraph.   “Interesting,” I thought, so I clicked on the item, expecting an expanded story from a news agency. What I got was the Huffington Post.     “OK, they are becoming a decent news source,” I reacted. So I began reading, only to realize they gave me two paragraphs before redirecting me to Newsmax for the entire story.    Newsmax is a news site established with the aid of politically conservative political figures and journalists. That doesn’t preclude them from reporting news accurately, but can influence their news choice, analysis and opinion. Nevertheless, I read the 14-paragraph story written by Drew MacKenzie. It was a sound story. However, it only paraphrased a story by Washington Post reporter Terrance McCoy, “The strongest military left in Iraq has not stopped the Islamic State.” So I decided to read the original Post story.   When I got there

Single-copy magazine distribution is undergoing a remarkably unheralded transformation and it has enormous implications for both publishers and consumers.   Each year about 3 billion copies of magazines are distributed to 150,000 retail outlets within a large and complex distribution channel. This is extremely important to publishers because it produces about one quarter of circulation revenue and is used to promote subscription and introduce new titles.   In simple terms, the system operates by publishers selling copies to wholesalers and wholesalers reselling the copies to retailers. However, retailers return unsold copies to wholesalers for a full refund and wholesalers return them to publishers for a similar refund.   Because of the large number of titles, copies, and retailers involved, and the geographic scale of the country, publishers and retailers have sought to minimize their effort, create economies of scale, and reduce transaction costs.   Publishers contract with national

The increasing consumption of news on digital platforms is forcing news organizations to rethink their news production cycles and staffing patterns. Most journalists, like other employees, prefer a normal pattern of life—going to work in the morning and leaving work in the afternoon—because it is conducive to social and familial life and enjoying the cultural amenities that communities have to offer. This preference helped keep afternoon newspapers the standard in the U.S. until 2000, when morning newspapers surpassed afternoon papers for the first time.   Even before that time, however, news production cycles and staffing patterns brought the majority of journalists to the office in the daytime hours, with the number of staff in newsrooms dwindling until morning papers “went to bed” about midnight. Most newsrooms then turned off the lights, and only a few larger metro papers sometimes kept a skeletal crew of police/fire reporters and photographers in the newsroom overnight. That staff

Expert journalism is playing an increasingly important role in the provision of news and news analysis. Its emergence and growth is taking away some of the functions of legacy news organizations, establishing new competitors, and creating new opportunities for cooperation.   Expert journalism is a novel form of journalism made possible because of the developments in digital media. Written by persons with high levels of expertise, and designed for those whose interests in specific topics are greater than that of the average newspaper reader, television viewer, or digital news user, it is providing alternatives to news previously available only through print or broadcasting. This type of journalism is practiced by scientists, economists, bankers, medical doctors, and civil society organizations focused on issues, regions, and conflicts. These producers work to provide accurate and, often, balanced content. It is also practiced by specialized professional journalists who provide news an