Sad to hear of the passing of Sayyed Mohammad Hussein Fadlallah. One of Hezbollah’s giants I respect a lot.

The reference is to Fadlallah, a prominent Lebanese Shia cleric, who died on July 4th. Nasr later explained her comments in a detailed blog post, in which she regretted trying to encapsulate a complex thought in a 140-character tweet.

CNN is not my favourite news source, and I hold no candle for Nasr, but to fire her shows a lack of judgement on CNN’s part that far overshadows Nasr’s indiscretion.

It reminds me of what happened when Barbara Plett, a BBC reporter in Ramallah, admitted crying at the death of Yasser Arafat. This is the transcript of Plett’s report. There was an outcry following its broadcast in 2004. An internal BBC enquiry later found that she had broken the BBC’s rules on impartiality (report here). Plett was mothballed for a while, and then reposted to a different part of the world.

But she was not fired.

Journalism is a difficult job. The days of rigid impartiality are, it often seems, over: in their place have come a welter of consciously partial news sources. In old media that shows itself in the nonsense extremes of, for example, Fox News and Press TV – and the very raison d’etre of new media is to supply multiple voices on every issue, to cover all angles. The onus has shifted, to a greater or lesser degree, onto the news consumer to take responsibility for filtering and processing the information they receive.

In claiming that Nasr’s credibility had been ‘compromised’ by her tweet, CNN is wrong. Nasr’s credibility is, rather, enhanced by it – not because Fadlallah was necessarily an admirable figure, but because her tweet demonstrates that she grasps nuance, and understands that the profoundly complex and contradictory realm of Middle East politics is not populated by one-dimensional figures who are purely good or purely evil, but by ordinary human beings who can hold outrageous, racist views and praise those who murder innocent civilians while simultaneously supporting progressive causes and benefiting their co-religionists and wider society. Life is not black and white. You are not either “for us or against us”.

The BBC placed more value on retaining the skills and expertise of Plett – who, undoubtedly, became a better, more cautious journalist because of the controversy – than on satisfying political calls for her to go. In doing so, they recognized the value of always trying to seek impartiality, but the unlikelihood of a single individual – let alone an entire organization – ever being able to achieve it.

By firing Octavia Nasr, CNN has, in contrast, shown itself to be a deeply reactionary, conservative organization – either more interested in toeing party-political lines than in seeking the truth, or (somehow worse) believing itself to be impartial, and thus perfect, already.

CNN has soiled its journalistic credentials, and rendered itself untrustworthy. More fool them.

Credit: BBC

Acknowledgement for a worthy award-winner. Yesterday Jeremy Bowen, the BBC’s Middle East editor, was presented with the Charles Wheeler Award 2010 for achievements in broadcast journalism.

Amid the screech of grinding axes that characterises much coverage of events in the Middle East, Jeremy Bowen has, to my mind, always maintained a calm, old-school approach to reporting – saying what’s happened today, and putting it into the context of what happened yesterday (and, occasionally, what might happen tomorrow). Nobody I’m aware of in English-language media around the world is as skilled a communicator in explaining for a general audience just what the heck the fighting is all about.

He’s the embodiment of the fact that, blogging and ‘citizen journalism’ notwithstanding, trained journalists working in old media really, really matter.

Congratulations, Jeremy. Thank you, BBC.

In the comments, Debbie Ferm of Traveldither.com wrote, “Like all web copy, travel writing will need to be more scannable… almost like copywriting.” What a pity if she’s right!

What interests me are people and places. I’m a writer. I care about the travel industry only to the extent of how it impacts on the stories I want to tell. The stuff I’m proud to write – which, not coincidentally, matches the stuff I like to read – is not round-ups or hotel reviews or sponsored puffs. That’s for paying the bills. When I’m a doddery old grandpa, few people may care about my stories of travel, but absolutely nobody will give a monkeys about my opinion of the travel industry in the long-forgotten 2010s.

Newspapers have painted themselves into a corner. By abandoning the journalistic model of paying skilled writers to report on people and places, they turned themselves into mouthpieces for the travel industry, which has funded the creation of travel ‘content’ for years now.

That model is now breaking down, as the travel industry withdraws its funding and cuts back on print advertising. This has left traditional media high and dry: by their parsimony and, some might say, corruption in years gone by, they’ve killed the goose.

Online travel writing is in a different place. Divisions and micro-definitions get boring, but perhaps one is justified here: travel journalism, i.e. round-ups, site reports, reviews, listings, investigations, industry analysis, is different from travel writing, i.e. stories of people and places, features, profiles, cultural insight, long-form creativity.

Both are valid. Thanks to the old media models, the former dominates. It shouldn’t.

And, online, it needn’t. Long-form feature writing about travel matters. It can do things that no other kind of writing can do, and can make connections that might otherwise never be made. Old media nonetheless sold it down the river.

If we accept Debbie’s notion of online travel writing as glorified holiday-brochure copywriting, SEO’d to within an inch of its life, the same thing will happen again.

One comment on Travelblather is particular telling: Pam, who blogs at Nerd’s Eye View, says she’s tired of travel journalists calling themselves professional. “What does that mean, anyway?” she asks. I agree it’s a tough term to define; after all, unlike the ‘professions’ of law, medicine and so on, you don’t have to pass an exam to be a travel journalist. Anyone can try their hand at it – like photography.

I’m a photographer, but I consider myself an amateur: I carry a fairly decent camera with me when I’m working, and have had dozens of photos published – from low-res national newspapers to full-page bleeds in high-quality glossy magazines – but a real photographer would instantly be able to tell that I’m actually not much good. I can do composition, and the very best of my pics are worth a look, but technically they’re all pretty much a dog’s dinner.

For me, that’s the main point about professionalism. It might be hard to define – but you sure as heck notice when it’s not there.

That hooks into what I see is the big, big difference between bloggers (even full-time bloggers) and journalists. (I can already tell that this isn’t going to make me very popular in some quarters.)

Editing crucial

I blog, I write for newspapers and magazines and I author books. I’ve also been an editor on books and magazines, a sub-editor, a proofreader – I work with words: that’s how I make a living to support my family. I’m a writer.

And I’m a better writer when I’m edited.

I love blogging: it’s a uniquely diverse medium. Being solely responsible for the stuff you publish is a real challenge. There are some great bloggers – and some rubbish journalists.

But still, only the latter are professionals. Why? Because they are being edited – that is, their creativity is reviewed before publication by people who work with words for a living. Editing has become unfashionable, and badly edited books and texts are everywhere – lots of people don’t even know what editing is – but it is absolutely crucial to the process of writing. Journalists are edited, bloggers are not. Bloggers (and readers of blogs) might see that as an advantage – and, in some cases, it is – but on the whole, in most instances, as a broad generalisation, editing makes journalists better writers than bloggers.

By ‘better’ I mean they use language in a more proficient way, say things more clearly, complete the job in a more pleasing way. It’s a quality issue. Most carpenters handle wood better than most plasterers. Most journalists handle words better than most bloggers (the ones I read, anyway).

Skills and motivation

There’s also a skill-set involved in journalism which bloggers don’t need. Researching, interviewing, extracting key details from a mass of information, developing sources, cross-checking. Knowing how to use these techniques (and why they are important) makes you a professional. Journalists are accountable for what they write in a way that bloggers simply aren’t. That doesn’t mean bloggers are ‘worse’ – indeed, they have a whole skill-set of their own that many journalists only vaguely understand – but it does mean that bloggers must gain new skills if they want to become journalists, and vice versa.

There’s another, linked point. Journalists make a living from what they write. Bloggers make a living because of what they write. There’s a big difference. If bloggers write stuff that is engaging, insightful, well conceived, well structured and intelligent, but that doesn’t bring traffic (and clicks), they make no money. By necessity, because of our desperately restrictive ad-centred online culture, bloggers must write stuff that is – in the broadest sense – popular. It can be crud in terms of content, style and/or purpose, but it must attract wide interest. (If it doesn’t, those bloggers make less money – or simply don’t attract followers.)

The only criterion for journalists, by contrast, is that their stuff must be well written. It doesn’t matter about the perception of popularity – because, in virtually all cases, the subject that the journalist is writing about has already been vetted and approved by experienced and (sorry) professional editors. And the beauty of a free press is that journalists can write stuff which might be unpopular, but which might still be important, and can have their material taken seriously by a diverse readership. They fail only if what they produce is badly written. Like I said before, professional quality is really difficult to define – but you know when it’s not there.

World of difference

There’s a world of difference between me making a soufflé, and a professional chef doing it. I can research the causes of the First World War and give a lecture to a hall full of students – but a professional academic would do it better. Leave me alone for long enough with your car and a Haynes manual, and I could probably fix that knocking noise in the back – but a professional mechanic would do it better (and more quickly).

It’s the same with writing. There’s plenty of room for blogging and journalism – but let’s not get the two mixed up.

I had a great time researching this: everybody I spoke to, without exception, was open and willing to talk to me – a foreign, straight journalist – about their lives and the challenges (or lack of challenges) they face in everyday life. I loved it all. Seeing the Middle East through gay eyes was a revelation. And I’m absolutely thrilled to be off the travel pages and in the Indy’s Saturday mag.

The most difficult task came during the writing process. After roughly 7 days of research I had a mass of material – six or seven hours of interviews recorded on an iPod and an A6 notebook (160 pages) literally full to the last page. In a way, I’d done too much – but, then again, without all those discussions, I could only ever have skated over the surface of the issues. Every meeting and every conversation helped me to understand the situation better, and shape the article.

But, with only 2,500 words to play with, I had to leave several interviewees out of the final edit altogether; several others, despite long talks and – in one case – hours of sightseeing around the city together, ended up reduced to a couple of lines of backstory and a single quote. One interviewee has already emailed to say how disappointed they are in me (and in how ‘negative’ the article is); others have so far been universally positive and supportive.

The problem, I think, is that I went in with an open mind: the conception of the article changed several times – from the pitch, to when I first arrived, to when I left, to when I sat down to write. The final piece has a quite different tone from how I originally imagined it – due entirely to the people I spoke to on the ground. If I had fixed on an angle before arriving and stuck to it, I could have interviewed fewer people, for a shorter time, asked more targeted questions and come up with 2,500 words to suit that agenda.

But I preferred to see this project as a journey of discovery for me, too – I genuinely wanted to find out about LGBT (lesbian, gay, bisexual, transgender) life in Israel… but perhaps that held me back and made the resulting article a little too quote-heavy. Not sure. It’s all a learning process. Might do things differently next time.

Then there was the Palestinian issue – lots to talk about there, in relation to gay issues, civil rights, the occupation… but, in truth, it’s a whole other article. I thought, early on, to bring in Palestinian perspectives, and I also had gay friends & contacts in neighbouring Arab countries ready to give quotes and insight – but, in the end, I decided that the subject of gay life in Israel merited discussion by itself. Expanding the boundaries of the subject would only have made the article fuzzier and less focused than it is. Tough decisions, these.

One thing that did jar was the images chosen by the picture editor to accompany the article. The Independent commissioned a Jerusalem-based freelance photographer, Ahikam Seri, to shoot the story – and he did an outstanding job, in interview situations, portraits and reportage. But the story ended up being illustrated with voyeuristic nightlife images on every page – men kissing, women kissing. I barely mention clubbing or Tel Aviv’s reputation for hedonism, but Ahikam’s portraits of the people I did write about, and his brilliant visual insights into ordinary gay life in the city, don’t get a look-in.

Instead, the newspaper thought: it’s a story about gays and lesbians – therefore, we must pack it with images of same-sex snogging, preferably in red-lit nightclub basements. Such a pity. Reinforces tired stereotypes, when there was an opportunity to undermine them. Opportunity lost.

I approached the relevant tourist board and requested a return flight to Destination X plus hotel accommodation for me to do my research. They got the ball rolling. All totally standard practice – nothing out of the ordinary yet.

As freelancers will know, though, two commissions are rarely enough to make a living. So I pitched another idea from Destination X to a different National Newspaper Travel Editor (NNTE 2), who is responsible for that newspaper’s online travel content. He liked it, but said there was no budget to pay me for it.

Modest proposal

So I suggested an alternative. Instead of having the newspaper pay me to write about Destination X, how about if I asked the tourist board to pay me instead? It wouldn’t be ‘advertorial’ – where a travel article (or whole section) is sponsored by a tourist board or travel company who dictate what gets written. All my research and writing would be done alone as normal and I would file directly to the editor – but the tourist board would foot the bill for my time and, erhmm, expertise. Result: the paper gets great content from which it can generate revenue, I get paid and Destination X gets coverage – all happy, right?

Nope. My modest proposal was rejected out of hand. NNTE 2 saw it as tying him to the tourist board. It was a ‘no’ on principle.

So I took yet another pitch about Destination X to a different National Newspaper Travel Editor. NNTE 3 liked the idea and was happy to run it – it tied in nicely with a similarly themed article from the same region that was already in his schedules – but again had no budget to pay me. I suggested the alternative payment method, but again it was refused on principle.

Principles

I wonder, though, what principle is at stake. Newspapers have no (or very little) money to pay for travel articles. NNTE 3 told me he now runs only one freelance piece a week, if that. Other newspapers commission nothing from freelancers at all anymore, running only “What I Did On My Holidays” articles written by celebs, staffers from other sections of the same newspaper and authors with a book to plug. Almost all seem to lament losing the insight, the expertise and the sheer variety of freelance content – but their hands are tied.

Yet I think both NNTEs I approached thought my payment idea risked undermining their credibility. I wonder, with respect all round, how much of that is left. Opening one recent national newspaper travel section, you got a welcome message from the boss of a tourist board followed by a dozen articles praising his region – including the likes of How Great It Is To Walk In The [X] Hills footed by a paragraph mentioning that [X] Railways serves all the destinations mentioned in the article, and underlined by a chunky banner advert for, oh, [X] Railways.

I’m not questioning any individual journalist’s integrity – or the necessity for that newspaper to seek funding through sponsorship – but I wonder how much credibility the public gives to such material. It was, effectively, a brochure in newspaper form. Handy for a spare weekend, but Woodward & Bernstein it ain’t.

Editorial independence

The key point of principle rests on the newspapers’ reputation for editorial independence. That, traditionally, has depended on their ability to fund their businesses through interspersing editorial with advertising. That model is now under severe threat.

How to pay the piper?

So far so bad. Yet with travel advertorial, the tail has begun wagging the dog. Companies with a vested interest are starting to be able to dictate terms. With the ongoing financial reshaping of the industry, editorial independence is dangerously threatened.

Putting an end to advertorial – by disconnecting the right of the journalist to get paid from the payer’s being able to control what is written – seems to me to be an innovative and effective route back to integrity and independence.

NNTE 2 queried what would happen if he didn’t like the piece I wrote and chose not to run it. Perhaps he thought he’d be in hock to the person paying my fee. But he – as now – would have no contact, and certainly no relationship, with the tourist board or travel firm paying me. If the story isn’t good enough to run, I simply wouldn’t get paid – but I would then be free to take it elsewhere. Since it would have no price-tag attached, the chances of one or other newspaper/magazine somewhere in the world picking it up for publication would be much higher than at present, where a ‘killed’ story is effectively dead in the water. I would then go back to my fee-payer and renegotiate.

Would a tourist board with extra-deep pockets be able to dictate to a writer what they should write about? Anything’s possible – but any journalist worth their salt would know when they’re being fed a line and would reject it for the sake of their own reputation, and (more to the point) any editor worth theirs would be able to detect a whitewash instantly. Tourist boards and travel firms already heavily subsidise the writing of most travel journalism, with literally thousands spent behind the scenes on a single article for air tickets, hotels, tours, guides and activities. Does it matter where the final, relatively insignificant cash fee to the journalist comes from?

In an industry unable to pay its suppliers, securing outside funding while safeguarding quality could actually put everybody on their toes and, in effect, raise standards. Suddenly, travel journalists would be motivated to double-check their sources. Reputations would be at stake.

Into the abyss

(Credit: myopera.com)

Travel journalism is staring into the abyss. The economics of the industry don’t really work, and haven’t done since newspapers started to rely on travel firms to facilitate creation of content instead of paying to send their own travel journalists abroad. With a shrinking world having reduced the experiential gap between writer and reader to almost nothing, travel journalists – unfairly – have a reputation as just another breed of fat-cats, swanning about being showered with freebies by travel companies and airlines in return for writing more or less bland holiday reports. The quid-pro-quo editorial models currently in place – airline gives journo ticket; journo namechecks airline in return – perpetuate that myth. Overtly sponsored advertorial doesn’t help.

Since newspapers are increasingly unable to pay for professionally produced, independent travel content, I thought my modest proposal to have someone else cough up might work. Clearly, I was wrong. But some alternative system has to be invented soon. I’m old-fashioned enough to think that people still appreciate well-written, insightful, long-form travel journalism – writing that is closer in spirit to the foreign pages than the lifestyle supplement. If I’m right, but the newspapers won’t pay for it, who will?

Footnote

No sour grapes, by the way. I think NNTE 2 and 3 have missed an opportunity, but that’s OK; I can appreciate that now is perhaps not the time to be testing new models on an ad-hoc basis. I’m talking to both of them about other ideas. Meanwhile, anyone thinking of trying to start out in travel journalism should be aware that I also spoke to NNTE 4 (no freelance budget; staffers only), NNTE 5 (Destination X is too far down our wishlist), NNTE 6 (no freelance budget)… It’s a jungle out there. NNTE 1 has my full attention.

The receding Dead Sea

Ferociously busy at the moment, ahead of a trip next week – I’ve got several stories I want to blog about, but only time now to post this BBC news report from Jordan by Natalia Antelava about the plans to build a Red-Dead Canal, linking the Red Sea to the Dead Sea, and thus (a) providing desalinated water for drinking, (b) exploiting the altitude difference to create hydroelectric power, and (c) pumping super-concentrated brine into the Dead Sea in an attempt to halt the shrinkage.

TV, as always, is restricted by the necessity to provide pictures – even when there’s nothing really to look at – but at least this 3-minute package introduces the issues and talks to the right people, including Munqeth Mehyar, director of Friends of the Earth Middle East (FOEME) in Jordan…

Red-Dead merits a longer post; I will come back to it.

Never mind. Politics aside, one of Aleem’s most memorable stories – apart from his blog from the haj – came from his idea last year to walk from Nazareth to Bethlehem, retracing the journey made by Joseph and Mary in the Christmas story, arriving in Bethlehem on Christmas Day. If you haven’t read his blog and watched the video clips from along the way, take time to do so – it’s a great travel story, told brilliantly well.