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George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

Reproduction of the original.

Jargon buster: convergent journalism: ?Media convergence is the most significant development in the news industry in the last century. The ability to interchange text, audio, and visual communication over the Internet has fundamentally transformed the way news organizations operate. Convergence has enabled media companies to gather, disseminate, and share information over a variety of platforms. Throughout the history of journalism, it has been common for journalists to study one medium, such as traditional print or broadcast, and to anticipate a career working only in their chosen field. However, the 21st century journalist has fluidity to write and deliver news content in a variety of formats. (source: http://www.convergencejournalism.com/) Broadcast News Writing, Reporting, and Producing presents a solid foundation for any student learning how to become a broadcast journalist ? in today's world of convergent journalism, it is more important than ever that broadcast textbooks cover the most current trends in media. Convergent journalism (the coverage of news across multiple delivery platforms such as the internet, television, podcasts, ipods, blogs, etc) is here to stay ? broadcast journalism continues to morph as newer and more advanced content platforms are hatched and developed, and broadcast journalists must understand how to write, report, and produce for multiple platforms simultaneously. Just one crucial fact remains: students will need training on how to perform successfully in a world in which current events aren't just shown on the ten o'clock evening news. Broadcast News Writing, Reporting, and Producing will be completely overhauled to reflect the trends of convergent journalism on every page. New co-author Frank Barnas brings a multi-faceted perspective of writing, reporting, and producing that allows for multi-platform delivery systems, and shows students with real-world examples the functions and practices of today's media. The new edition will be rewritten and restructured to accommodate common 16-week course modules, and will be divided into four major sections of the news: gathering, writing, reporting, and producing. Sidebars featuring how examples used in the text relate to convergence in journalism help students to draw connections easily between current stories and trends in the industry. The comprehensive approach of this text brings a multi-faceted perspective of writing, reporting, and producing that is needed more than ever in today's world of convergent journalism. This newest edition is being completely overhauled by the experienced journalist Frank Barnas. New photos and illustrations, a restructuring of the text, expanded end-of-chapter exercises, newer and more relevant examples, and more information on producing all contribute to giving readers what they need most: a nuanced understanding of how the media of today function in a world without news boundaries.

Newspapers are dying. Giant media companies as well as smaller print media companies are closing, threatened, or in bankruptcy. What has happened to the American newspaper? In his new book, Life on Sugar Creek, Skip Marshall draws comparisons between large and small market newspapers and speculates that years of intransigence and arrogance have resulted in the current crisis. Anyone who has had any sort of relationship with newspapers will enjoy reading this warts-and-all look at a business that the author predicts will not survive the current generation. Dry humor and biting criticism alternate and weave together the story that unfolds in a small town in Indiana where the last American newspaper war is being fought.

This revised edition is at the cutting edge of the revolution. It has three main aims: to maintain and enhance the systematic approach to feature writing pioneered in the earlier editions; to help lecturers integrate CAR into their courses; and to give working journalists some instruction in CAR.

This anthology collects the ten winners of the 2014 Best American Newspaper Narrative Writing Contest, run by the Mayborn Literary Nonfiction Conference. The event is hosted by the Frank W. Mayborn Graduate Institute of Journalism at the University of North Texas. The contest honors exemplary narrative work and encourages narrative nonfiction storytelling at newspapers across the United States. First place winner: Dan Barry, "The Boys in the Bunkhouse," published by The New York Times, exposed thirty years of physical and mental abuse of intellectually disabled men living in an Iowa group home. Second place: Christopher Goffard, "The Favor," published by the Los Angeles Times, describes the plea bargain sentence of the son of a former California assembly speaker, after the son pleaded guilty to voluntary manslaughter, and whose prison sentence was later reduced by then-California Gov. Arnold Schwarzenegger. Third place: Stephanie McCrummen, "A Father’s Scars," published by the Washington Post, about a Virginia state senator one year after he was stabbed multiple times by his mentally ill son before the son killed himself. Runners-up include Nathan Bomey, John Gallagher and Mark Stryker, "How Detroit was Reborn" (Detroit Free Press); Monica Hesse, "Love and Fire" (Washington Post); Sarah Schweitzer, "Chasing Bayla" (Boston Globe); Sarah Kleiner Varble, "Then the Walls Closed In" (The Virginian Pilot); Joanne Kimberlin and Janie Bryant, "Dangerous Minds" (The Virginian Pilot); Molly Harbarger, "Fred Nelligan" (The Oregonian); and Mark Johnson, "Murray's Problem" (Milwaukee Journal Sentinel).