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ABEL Language and Journalism

ABEL/BAEL Language and Journalism module

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9 views62 pages

ABEL Language and Journalism

ABEL/BAEL Language and Journalism module

Uploaded by

rlotlotolentinorome

We take content rights seriously. If you suspect this is your content, claim it here.

Available Formats

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LEARNING MODULE IN ENG 125 (LANGUAGE AND JOURNALISM)

Agusan del Sur State College of Agriculture and Technology MODULE 1 ▪ Page 1 of 62
Trento Campus, Trento, Agusan del Sur

PRELIMINARIES

Course : ENG 146 Period : MIDTERM AND FINAL

Course Title : LANGUAGE AND JOURNALISM Schedule : TBA
Class : AB English Language 3 & 4 Pre-Requisite : Eng 101/Eng 102, Eng103
Semester/AY : 1st Semester/AY 2022-2023 Instructor : JOY S. AMBIA

CONTENTS
LESSONS INTENDED LEARNING OUTCOMES
LESSON 1: a. determine the significance of journalism from its history down to its modern cultural
Overview of Campus relevance;
Journalism b. recognize the principles of journalism in sample articles;
1. Introduction to Journalism c. create implications to the teaching of Campus Journalism to future students through the
2. Definition analysis of RA 7079;
3. Common Media Forms d. convey contentions and possible solutions to issues in Campus Journalism; and
4. Overview/Review on Media e. develop the sense of social responsibility in responding to events guided with the principles of
Literacy journalism.
5. History of Journalism in the
world
World
6. History of Journalism and
Campus Journalism in the
Philippines
7. Principles of Journalism
8. Features of a Campus
Journalist
9. RA 7079 – Campus Journalism
Act and the Press Conference
10. The Editorial Board
11. Issues in Campus Journalism
LESSON 2: a. describe the various sections of the Campus Paper;
Pre-Writing Concerns in b. identify how to choose a topic for writing and publishing in the Campus Paper;
Campus Journalism c. produce a story pitch – in video – applying strategies in choosing a topic and researching while
1. Sections of a Campus Paper using ICT tools;
2. Choosing a Topic d. demonstrate how to do interview and quote sources for Campus Paper articles through ICT
3. Researching tools;
4. Pitching a Story 5. e. trace the print media process from choosing a topic to publishing the article; and
Interviewing and Quoting f. display a caring attitude and social responsibility in one’s story pitch.
Sources
6. The Print Media: From Topic
to Article
LESSON 3:
Campus News Writing a. trace the different sources and process of news topics and events;
1. Sources and the Flight of b. discuss the elements of news and principles of journalism which should be present in articles;
Campus News c. identify the Inverted Pyramid as a structure in writing news articles;
2. Essentials of News d. recognize the different types of news according to area, topic, and heaviness;
3. Elements of News e. recognize the lead, its function and its types as an important part of the news article;
4. Principles of Journalism f. write a news article using ICT tools applying the principles, structure, and strategies shared; and
applicable to News g. appreciate tact, courtesy, truthfulness, and respect in writing a campus news article.
5. Inverted Pyramid Structure in
News
6. Types of News
7. The Lead
8. Sources and Citation in News
Writing
9. Writing the Actual News
Article
LESSON 4: a. define feature and science writing;
Feature and Science Writing b. discuss the principles of journalism which should be present in feature articles;
1. Elements of Feature and c. recognize the different types of feature articles;
Science Writing d. write a feature/science article using ICT tools and applying the principles, structure, and
2. Definitions strategies shared; and
3. Principles of Journalism e. appreciate accuracy, creativity and integrity in writing a campus feature/science article.
applicable to Feature
4. Structure of the Feature Article
5. Types of Features
6. Interviewing for Feature
7. Writing the Actual Feature
Article

JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
LEARNING MODULE IN ENG 125 (LANGUAGE AND JOURNALISM)
Agusan del Sur State College of Agriculture and Technology MODULE 1 ▪ Page 2 of 62
Trento Campus, Trento, Agusan del Sur

LESSON 5: Editorial/Opinion Writing

Editorial/Opinion Writing 1. Essentials of Editorial
1. Essentials of Editorial 2. Editorial vs. Opinion vs. Column
2. Editorial vs. Opinion vs. 3. Principles of Journalism applicable to Editorial
Column 4. Editorial Structures
3. Principles of Journalism 5. Techniques in Claiming Opinions and Supporting
applicable to Editorial Claims
4. Editorial Structures 6. Types of Editorials
5. Techniques in Claiming 7. Topic Choice/ News Peg
Opinions and Supporting 8. Writing the Actual Editorial Article
Claims
6. Types of Editorials
7. Topic Choice/ News Peg
8. Writing the Actual Editorial
Article
LESSON 6: a. discuss the principles of
Sports Writing journalism which should be
1. Essentials of Sports Writing present in sports articles;
2. Sports News vs. Sports Feature b. identify the descriptive structure
3. Principles of Journalism in writing sports articles;
applicable to Sports c. recognize the different types of
Writing sports events and their
4. Jargons in Different Sports corresponding jargons;
Events d. write a sports coverage article
5. The Sports Coverage using ICT tools and applying the
principles, structure, and
strategies shared; and
e. appreciate tact, creativity, and
respect in writing a campus
sports article.
LESSON 7:
Revising, Editing, a. discuss the revising up to the
Proofreading/ Copyreading, publishing process in campus
and Publishing print;
1. Revising and Editing Processes b. identify the duties and
in Campus Journalism characteristics of the copyreader
2. The Copyreader – Duties and and editor;
Characteristics c. use the copyreading and
3. Copyreading and proofreading symbols in editing
Proofreading Symbols campus articles;
d. edit articles using a Word
4. Proofreading and Publishing
Processing application to display
Processes in Campus Journalism
one’s ICT skills; and
e. display accuracy, respect, and
integrity in editing campus paper
articles.

LESSON 8:
Photojournalism a. discuss the qualities of an
1. Qualities of Effective effective photo for the campus
Photos paper;
2. The Photo Essay b. produce a photo essay applying
3. Techniques in the principles and techniques in
Photojournalism taking photos, captioning, and
4. Captioning photo editing;
5. Photo Editing c. use a Photo Editing software to
show one’s ICT skills; and
d. display a caring attitude and
social responsibility in the produced photo essay about a
school/ community issue.

LESSON 9:
Cartooning and Lay-outing a. discuss the qualities of an
1. Qualities of Effective effective cartoon and layout for
Cartoons the campus paper;
2. Techniques in Editorial b. produce an editorial cartoon
Cartooning applying the principles and
3. Qualities of a Good techniques in cartooning;
Layout c. differentiate the types of layouts
to be applied in the campus
paper;
d. identify the physical parts of the
campus paper;

e. discuss as an editorial board how

the layout of the campus paper
will look like to tap aesthetic
quality and functionality;
f. use a Publication Software to
show one’s ICT skills; and
g. display a caring attitude and
social responsibility in the
produced cartoon about a
school/ community issue.
LESSON 10:
a. identify principles in news broadcasting for television and radio b. discuss the relevance of
Script Writing and Newscasting broadcasting in the spreading of accurate information and propagation of responsible journalism in
1. TV vs. Radio Broadcasting the community and country
2. Principles in Broadcasting c. publish the final campus paper complete with original articles in the different sections using
3. Scriptwriting several ICT productivity tools d. evaluate on the effectiveness and social responsibility of one’s
4. Actual Newscasting campus paper in the school community

Desktop Publishing (Finalizing

the Campus Paper)
REFERENCE
1. Tajar, M. (2001). Easy way to learn Japanese with Filipino text, 2nd ed. Pasig City: National
Bookstore.
2. Abramoff, K. and Miyahara, Akira (1998). Japanese 1 Second Edition. Simon & Schuster, Inc.
3. Makino, S. and Tsutsui, M.(1994). A dictionary of basic Japanese Grammar. The Japan Times, Ltd.
4. Uo, S. (nd). Japanese Vocabulary. Essentialfunctions and situations. Bar Chart, Inc.
5. Wilkes, A. (2011). Japanese English Bilingual Visual Dictionary. Dorling Kindersley Publishing
6. NHK World. (2015). Easy Japanese. Retrieved from https://www.nhk.or.jp/lesson/update/pdf/leall_en_t.pdf

Prepared by: Checked by:

JOY S. AMBIA JOY S. AMBIA
Course Instructor, AB English Language Chairperson, AB English Language Program

Recommending Approval: Approved by:

RENE Y. MAHINAY SHIELA G. REYES, Ph. D.
Campus Administrator SUC Vice President III for Academics

INTRODUCTION
Welcome to this Learning Module. Since you are under General Community Quarantine, you will be using this
material to walk you through the basics of English to hone your skills in language. The organization is made in a way that
you will enjoy engaging in the tasks arranged in a certain level of difficulty. The course of study you are about to begin has
been designed to make your learning become more enjoyable and rewarding. The 10 modules of this course provide practical
language skills and cultural information that will make it easier for you to understand. Since the course is self-paced and
most of the modules may be taken in any sequence, you are free to decide which module to study first and how much time to
devote to it. These modules also have quizzes to help you evaluate your achievements. By all means, try out your new
abilities as soon as possible in the real situation. You will be surprised at how quickly you will learn to communicate your
everyday needs in Japanese. This learning module is self-instructional allows you to learn in your own space and pace. So,
relax and just enjoy doing the tasks! To get the most out of this module, here are a few reminders:
A. Kindly take your time in reading the tasks and the topic.
B. For reference and clarification, you may take down notes. You may also discuss these points with your instructor
through Facebook Messenger and other online platforms.
C. Accomplish and answer all tasks. The activities are designed to enhance your understanding of the ideas and
concepts being discussed. The tasks at the end of each module will give you an idea how well you understand the
lessons. Review the lessons if necessary, until you have achieved a sufficient level of proficiency.
D. Do not write anything on any part of this module. Write the answers to the tasks in a notebook required by your
instructor. This shall be part of your formative and summative evaluations.

OVERVIEW
This module follows the phases of 5Es Instructional Model namely, Engage, Explore, Explain, Elaborate and
Evaluate. Each lesson begins with the objectives and follows the five (5) parts vis-a-vis the phases of 5Es Instructional
Model.
The GET READY part of this material is the OBJECTIVES to be achieved in each module. This part states the
expectation or target of the module in line with what you should know, understand or perform. The LET’S START section
which is the ENGAGE phase starts the process of understanding the topic. This will serve as a drill or warm up activity. In
the LET’S DISCOVER and the EXPLORE phase of the lesson, it relates to your common base of experience or prior
knowledge like hands-on or minds-on tasks. LET’S LEARN, on the other hand, corresponds to the EXPLAIN phase. This
will allow you to explain the concepts you have been exploring as you will be provided with explanations and ideas about
the topic. This part is the discussion section. In the LET’S EXAMINE phase, you will practice what you have learned since
this is the ELABORATE phase. You will engage in different formative tasks and exercises. The LET’S EVALUATE or the
EVALUATE phase encourages you to assess your understanding and abilities on the topic. This will serve as a summative
assessment and quizto test your understanding on the target concept or skill.
This learning module contains interactive features that you need to understand as you undertake each task. There
are tasks or activities that necessitate the presence of Internet to get you to online works in Facebook and Messenger. This is
done to tract your progress and status with regards the module.
Further, the modes of delivery will be in the form of self-directed study. You are encouraged to visit the instructor
concerned for assistance during office hours in school. If the office hours do not meet your schedule, notify the instructor
through Facebook or Messenger. These platforms will be used as communication tools and information portals for you to
access learning materials, project briefs, some discussions, assignments and other announcements.
It is hoped that this module will achieve its aim of producing alternative learning experiences through discovery
and blended learning on the target concepts necessary to the development of your language abilities to effectively meet the
demands of education amidst a world pandemic crisis.

-The Author

LEARNING MODULE1
Overview of Campus Journalism

LET’S LEARN
You are doing great in the tasks! To give you more ideas and concepts presented on the tasks, here is a lesson you
will learn. Read the texts and lesson below that you will encounter today. Take note of the important main points.

What is Campus Journalism?

 Campus journalism is defined as “that enjoyable activity of the staff of the campus
paper in collecting, organizing and presenting news, writing editorials, columns,
features, and literary articles, taking pictures, cartooning, copy reading, proofreading,
dummying & writing headlines”

OUR FIVE CORE PRINCIPLES OF ETHICAL JOURNALISM

1.Truth & Accuracy

Journalists cannot always guarantee ‘truth’, but getting the facts right is the cardinal principle of
journalism. We should always strive for accuracy, give all the relevant facts we have and ensure
that they have been checked. When we cannot corroborate information we should say so.

2. Independence
Journalists must be independent voices; we should not act, formally or informally, on behalf
of special interests whether political, corporate or cultural. We should declare to our editors
– or the audience – any of our political affiliations, financial arrangements or other personal
information that might constitute a conflict of interest.

3. Fairness and Impartiality

Most stories have at least two sides. While there is no obligation to present every side in every
piece, stories should be balanced and add context. Objectivity is not always possible, and may not
always be desirable (in the face for example of brutality or inhumanity), but impartial reporting
builds trust and confidence.

4. Humanity
Journalists should do no harm. What we publish or broadcast may be hurtful, but we should be
aware of the impact of our words and images on the lives of others.

5. Accountability
A sure sign of professionalism and responsible journalism is the ability to hold ourselves
accountable. When we commit errors we must correct them and our expressions of regret must be
sincere not cynical. We listen to the concerns of our audience. We may not change what readers
write or say but we will always provide remedies when we are unfair.

-7079, otherwise known as the Campus Journalism Act of 1991, was enacted on July 5,
1991 to supposedly uphold and protect the freedom of the press at the campus level and to
promote the development and growth of campus journalism, as stated in its declaration of
policies.

A Brief History of Campus Journalism

According to Jesus Valenzuela in the History of Journalism in the Philippine Islands
(1933) and John Lent in the Philippine Mass Communication (1964), the history of campus
journalism in the Philippines started when the University of Santo Tomas published El
Liliputiense in 1890.

However, Oscar Manalo, Narciso Matienzo, and Virgilio Monteloyola in Ang Pamahayagan
(1985) argued that the history of campus journalism in the country started when the
University of the Philippines published The College Folio, now The Philippine Collegian, in
JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
LEARNING MODULE IN ENG 125 (LANGUAGE AND JOURNALISM)
Agusan del Sur State College of Agriculture and Technology MODULE 1 ▪ Page 7 of 62
Trento Campus, Trento, Agusan del Sur

1910. They also added that The Torch of the Philippine Normal University, The Guidon of
the Ateneo de Manila University, and The Varsitarian of the University of Santo Tomas were
also published two years later.

Whatever came first, Carlos Romulo y Peña edited The Coconut, the official student
publication of the Manila High School, now the Araullo High School. It was published in
1912 and it is now considered the first and oldest high school newspaper in the country.

In 1923, La Union High School in the Ilocos Region published The La Union Tab, the first
printed and regularly issued high school newspaper in the country. Since then, high school
newspapers came out one after the other.

Among these high school newspapers were The Pampangan, Pampanga High School, 1925;
The Leytean, Leyte High School, 1925; The Rizalian, Rizal High School, 1926; The Coconut,
Tayabas High School, 1927; The Volcano, Batangas High School, 1927; The Toil, La Union
Trade School, 1928; The Samarinian, Samar High School, 1928; The Melting Pot, Tarlac
High School, 1929; The Granary, Nueva Ecija High School, 1929; The Torres Torch, Torres
High School, 1930; and The Cagayan Student Chronicle, Cagayan High School, 1931.

Read more in History- A History of Journalism in the Philippines: Contemporary Period (10
of 11)A History of Journalism in the Philippines: Historical Notes (11 of 11) » In 1931, 30
out of 106 high schools in the country had campus newspapers registered at the Bureau of
Public Schools. In 1950, this number increased to 169; by 1954, to 253; by 1975, to 500; and
by 1986, to more than 900 newspapers in English and in Filipino.

LET’S EXAMINE
Now that you understand the essential ideas, it’s time to exercise your knowledge. Make sure to familiarize the
expressions and language used. It is because you will engage on the lesson by doing the following tasks.

ONE MORE TRY

Present a video that will show your learning in this language. Post it in our Official Facebook Page for
ABEL Program.

You will be graded with the following rubrics below.

Indicators 5-Very Good 4- Good 3- Average 2-Poor 1-Very Poor

Timeliness Ahead of time On-time Late less than 1 Late less than 2 Very Late
week weeks

Performance The presenter is The presenter is The presenter is The presenter is The presenter is
with Mastery fluent and have quiet fluent and not that fluent not that fluent very obvious
eye to eye have eye to eye and have eye to and have no eye reading.
contact to the contact to the eye contact to to eye contact to
camera. camera. the camera. the camera.

Quality of the The video has The video has The video has The video has The video has
Video extraordinary ordinary special virtual effects. no awesome no virtual
special effects. effects. virtual effects. effects.

Total(15 points)

LEARNING MODULE2
Pre-Writing Concerns in Campus Journalism

GET READY

You are doing great in the tasks! To give you more ideas and concepts presented on the tasks, here is a lesson you
will learn. Read the texts and lesson below that you will encounter today. Take note of the important main points.

Prewriting Strategies
Five Useful Strategies
-Pre-writing strategies use writing to generate and clarify ideas. While many writers have
traditionally created outlines before beginning writing, there are several other effective
prewriting activities. We often call these prewriting strategies “brainstorming techniques.” Five
useful strategies are listing, clustering, freewriting, looping, and asking the six journalists'
questions. These strategies help you with both your invention and organization of ideas, and can
aid you in developing topics for your writing.

Listing

-Listing is a process of generating a lot of information within a short time by generating some
broad ideas and then building on those associations for more detail. Listing is particularly useful
if your starting topic is very broad and you need to narrow it down.

-Jot down all the possible terms that emerge from the general topic you are working on. This
procedure works especially well if you work in a team. All team members can generate ideas,
with one member acting as scribe. Do not worry about editing or throwing out what might not
be a good idea. Simply write down as many possibilities as you can.

-Group the items that you have listed according to arrangements that make sense to you. Are
things thematically related?

-Give each group a label. Now you have a narrower topic with possible points of development.

-Write a sentence about the label you have given the group of ideas. Now you have a topic
sentence or possibly a thesis statement.

Clustering
Clustering, also called mind mapping or idea mapping, is a strategy that allows you
to explore the relationships between ideas.

-Put the subject in the center of a page. Circle or underline it.

-As you think of other ideas, write them on the page surrounding the central idea. Link the new
ideas to the central circle with lines.

-As you think of ideas that relate to the new ideas, add to those in the same way.

-The result will look like a web on your page. Locate clusters of interest to you, and use the
terms you attached to the key ideas as departure points for your paper.

-Clustering is especially useful in determining the relationship between ideas. You will be able
to distinguish how the ideas fit together, especially where there is an abundance of ideas.
Clustering your ideas lets you see them visually in a different way, so that you can more readily
understand possible directions your paper may take.

Freewriting
-Freewriting is a process of generating a lot of information by writing non-stop for a
predetermined amount of time. It allows you to focus on a specific topic, but forces you to write
so quickly that you are unable to edit any of your ideas.

-Freewrite on the assignment or general topic for five to ten minutes non-stop. Force yourself to
continue writing even if nothing specific comes to mind (so you could end up writing “I don’t
know what to write about” over and over until an idea pops into your head. This is okay; the
important thing is that you do not stop writing). This freewriting will include many ideas; at this
point, generating ideas is what is important, not the grammar or the spelling.

-After you have finished freewriting, look back over what you have written and highlight the
most prominent and interesting ideas; then you can begin all over again, with a tighter focus
(see looping). You will narrow your topic and, in the process, you will generate several relevant
points about the topic.

Looping
-Looping is a freewriting technique that allows you to focus your ideas continually while trying
to discover a writing topic. After you freewrite for the first time, identify a key thought or idea
in your writing, and begin to freewrite again, with that idea as your starting point. You will loop
one 5-10 minute freewriting after another, so you have a sequence of freewritings, each more
specific than the last. The same rules that apply to freewriting apply to looping: write quickly,
do not edit, and do not stop.

-Loop your freewriting as many times as necessary, circling another interesting topic, idea,
phrase, or sentence each time. When you have finished four or five rounds of looping, you will
begin to have specific information that indicates what you are thinking about a particular topic.
You may even have the basis for a tentative thesis or an improved idea for an approach to your
assignment when you have finished.

The Journalists' Questions

-Journalists traditionally ask six questions when they are writing assignments that are broken
down into five W's and one H: Who?, What?, Where?, When?, Why?, and How? You can use
these questions to explore the topic you are writing about for an assignment. A key to using the
journalists' questions is to make them flexible enough to account for the specific details of your
JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
LEARNING MODULE IN ENG 125 (LANGUAGE AND JOURNALISM)
Agusan del Sur State College of Agriculture and Technology MODULE 1 ▪ Page 10 of 62
Trento Campus, Trento, Agusan del Sur

topic. For instance, if your topic is the rise and fall of the Puget Sound tides and its effect on
salmon spawning, you may have very little to say about Who if your focus does not account for
human involvement. On the other hand, some topics may be heavy on the Who, especially if
human involvement is a crucial part of the topic.

-The journalists' questions are a powerful way to develop a great deal of information about a
topic very quickly. Learning to ask the appropriate questions about a topic takes practice,
however. At times during writing an assignment, you may wish to go back and ask the
journalists' questions again to clarify important points that may be getting lost in your planning
and drafting.

Possible generic questions you can ask using the six journalists' questions follow:

 Who? Who are the participants? Who is affected? Who are the primary
actors? Who are the secondary actors?
 What? What is the topic? What is the significance of the topic? What is the
basic problem? What are the issues related to that problem?
 Where? Where does the activity take place? Where does the problem or
issue have its source? At what place is the cause or effect of the problem
most visible?
 When? When is the issue most apparent? ( in the past? present? future?)
When did the issue or problem develop? What historical forces helped
shape the problem or issue and at what point in time will the problem or
issue culminate in a crisis? When is action needed to address the issue or
problem?
 Why? Why did the issue or problem arise? Why is it (your topic) an issue
or problem at all? Why did the issue or problem develop in the way that it
did?
 How? How is the issue or problem significant? How can it be addressed?
How does it affect the participants? How can the issue or problem be
resolved?

Front Page
Nameplate – The engraved or printed name of the newspaper
Ears – The little boxes on either side of the nameplate
Banner head– The principal headline bearing the boldest and biggest type.
Running Head – The running head is a type of head having two or more lines.
Headline – refers to any title of any news.
Deck – A subordinate headline placed immediately below its mother headline, also known as
bank or readout.
Lead – The beginning of a news story.
Column – they are horizontal divisions of the parts or texts if newspaper.
Column Rule – The vertical line that divides the page into columns.
Fold – The imaginary horizontal line that divides the newspaper equally into two parts
JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
LEARNING MODULE IN ENG 125 (LANGUAGE AND JOURNALISM)
Agusan del Sur State College of Agriculture and Technology MODULE 1 ▪ Page 11 of 62
Trento Campus, Trento, Agusan del Sur

Byline – The signature of a reporter preceding a news-feature

Cut – the cut is a metal place bearing the newspaper’s illustration.
Cutline – The text accompanying photos and other art work, better known as caption. If
written above the photo just like a slug line, it is called an over line.
Box line – any news material enclosed by line rules is a boxed story.
Over line – it is a type of cutline written or shown above the photo.
Kicker – a kicker is a tagline above but smaller than the headline.
Hammer – a hammer is a type of kicker but the difference is that a hammer is bigger than the
headline.
Credit Line – a credit line is a line given to pay respect to the source of the story or
illustration printed.
2. News Page
3. Editorial Page
Editorial Proper – the article that is considered to be soul of a newspaper or magazine.
Column – is recurring piece or article of the paper.
Op-ed – abbreviation of opposite of the editorial page (through often believed to be
abbreviated from opinion-editorial).
Letter to editor – letter to editor sometimes abbreviated LTTE or LTE is a letter sent to a
publication about the issues
of concern to its readers.
Editorial cartoon – also known as political cartoon is a caricature containing a political or
social message that usually relates to current events or personalities.
Folio – usually written on top of the pages, this is composed of the page number, date of
publication and name of the newspaper.
Masthead – this is also called flag. It shows the publication’s name, the volume and number
of release, the names of the staff and their respective positions.
4. Feature Page
5. Community Development Page
6. Science and Technology Page
7. Sports Page
The sports section of a newspaper features information on local sports events like high school
sports team.

We have several strategies you can use to help select and narrow the topic
appropriately.

 Know Yourself and Your Audience. The first strategy is to identify an area of
knowledge or an issue that deeply interests you. ...
 Saving Time. ...
 Appeal, Appropriateness, and Ability. ...
 Use Your Self-Inventory. ...
JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
LEARNING MODULE IN ENG 125 (LANGUAGE AND JOURNALISM)
Agusan del Sur State College of Agriculture and Technology MODULE 1 ▪ Page 12 of 62
Trento Campus, Trento, Agusan del Sur

 Writing Your Thesis Statement.

ONE MORE TRY

Present a video that will show your learning in this language. Post it in our Official Facebook Page for
ABEL Program.

You will be graded with the following rubrics below.

Indicators 5-Very Good 4- Good 3- Average 2-Poor 1-Very Poor

Timeliness Ahead of time On-time Late less than 1 Late less than 2 Very Late
week weeks

Performance The presenter is The presenter is The presenter is The presenter is The presenter is
with Mastery fluent and have quiet fluent and not that fluent not that fluent very obvious
eye to eye have eye to eye and have eye to and have no eye reading.
contact to the contact to the eye contact to to eye contact to
camera. camera. the camera. the camera.

Total(15 points)

▪JUST ASSUME

LEARNING MODULE3
Campus News Writing

News writing is writing for publication in a newspaper, often reporting current

events which make it as journalism.

Sources of News in Journalism and Importance of News Sources

Anything that provides news information for a period of time is said to be a news source.
News sources can be a moving person or still documents. Such as people who have witnessed
the crime would come to the news source or documents found at the suicide crime spot would
be considered as a news source. There are several news sources such as official documents,
governmental officials, witnesses of the crime scene, the victim itself etc. News sources are
required for the both, the journalists and for the audiences. Here we are going to discuss the
news sources for both.

In earlier days many rulers used the technique of drum beat to convey their message through
different people or his officials and many rulers carved their messages on the walls or rocks
to deliver their message. Later in the modern world, all these news sources were eliminated
and then press took new elements of news sources. In today’s world, we can see there are
totally different news sources. Such as televisions, radio, press release, press conference,
newspapers, press interviews, institutions such as hospitals, schools, colleges, police stations
etc.

These are the news sources which are prominent in today’s time:

1. Radio: It is an audio medium used by many in today’s time. We can see people are
relying on Radio as a source of information. Radio is prominent and seen in both rural
and urban areas. People in rural who cannot afford television rely on radio as it is
cheap. If we talk about urban areas where we do not see many using radio at their
houses instead they listen in their cars. Over decades radio has gained popularity and is
said is a good source of news.
2. Television: television telecasts their news on television through which other newspaper
takes there sources. It is said to be the most authentic source of news as it has visuals to
establish the authenticity. Television helps and provides newspapers to give detailed
information to the audience but television news just doesn’t act as the source to the
newspaper but also the audience itself.

1. Newspapers and magazines: these two also act as a good source of news. Newspaper
on both the levels national and international provides the best information in details.
Thenewspaper has 5W’s and 1H which gives all the significant information at the
starting of the news and further deals with the minor details and same is done in the
magazines.
2. Press release: Press Releases are generally used for the release of a particular news.
The Press Release should contain worthwhile material which has some news value. A
Press Release should be written in a journalistic style and provide facts and information
of interest to readers and should cover all aspects of a specific subject. The release
should be on current subject and a piece of clear writing without any ambiguity, color
or ornamentation but it should at the same time not be generally lengthy.
3. Press notes: The press notes are less formal in character. These are also issued on
important official matters e.g. raising or lowering of tariff rates, price fixation of food
grains, subsidy announcement of seeds, fertilizer etc. Apart from the name of

department, place and date, a press note mentions headings. Unlike the press
communiqué, the newspaper can edit or condense the press notes.
4. Handouts: The handouts are issued on a variety of subjects like the day-to-day
activities of the ministry or departments, VIP speeches, question and answers in
Parliament or legislature and the developmental programmes of government
departments. It covers the name of the PIB or information department. No official
handout is issued, if the minister or a government official has spoken in his personal
capacity.
5. Press statement: the statements are usually given by known people, then he shares his
statement with media and later this becomes press statement.
6. Police station: every event which is of big concern to the police station would be
firstly found in the police station. If the reporter wants to know about a crime scene he
would get first-hand information from there.

What are the 7 principles of journalism?

So while various codes may have some differences, most share common elements
including the principles of truthfulness, accuracy, objectivity, impartiality, fairness,
and public accountability, as these apply to the acquisition of newsworthy information
and its subsequent dissemination to the public.

What are the 7 elements of news?

The Seven Elements of Newsworthiness

 1) Impact. People want to know how a story is going to affect them. ...
 2) Timeliness. It's called news for a reason—because it's new information. ...
 3) Proximity. ...
 4) Human Interest. ...
 5) Conflict. ...
 6) The Bizarre. ...
 7) Celebrity.

In journalism, the inverted pyramid refers to a story structure where the most
important information (or what might even be considered the conclusion) is
presented first. The who, what, when, where and why appear at the start of a
story, followed by supporting details and background information.

ONE MORE TRY

Present a video that will show your learning in this language. Post it in our Official Facebook Page for
ABEL Program. .

You will be graded with the following rubrics below.

Indicators 5-Very Good 4- Good 3- Average 2-Poor 1-Very Poor

Timeliness Ahead of time On-time Late less than 1 Late less than 2 Very Late
week weeks

Performance The presenter is The presenter is The presenter is The presenter is The presenter is
with Mastery fluent and have quiet fluent and not that fluent not that fluent very obvious
eye to eye have eye to eye and have eye to and have no eye reading.
contact to the contact to the eye contact to to eye contact to
camera. camera. the camera. the camera.

Total(15 points)

SK 5▪JUST ASSUME

LEARNING MODULE 4
Feature and Science Writing

LET’S START

How to write a science feature

 Choose your topic and length carefully. ...

 Have a plan. ...
 Come back to the intro again, and again, and again … ...
 Get on the phone, or better still on the road. ...
 Get building. ...
 Choose your structure carefully. ...
 Know what you are trying to say – don't waffle. ...
 Get your facts straight.

What is the feature of scientific writing?

Writing is cohesive when ideas presented are connected to one another and appear in an
orderly pattern. Cohesion is reinforced in writing through structure. When different ideas
are separated by proper punctuation, spacing, and headings, their meanings are more
accessible to readers.

18 TIPS TO IMPROVE YOUR SCIENCE WRITING

-Communicating your experimental findings with others is your most important task as a
scientist. You may make critical observations, develop ingenious hypotheses, design
innovative experiments, and make important and novel discoveries – but if you cannot
communicate your ideas and achievements to your colleagues, your career as a scientist will
be at a standstill. Great writing and editing skills develop with experience and guidance. All
the writing experience in the world will not make you a better writer in the absence of writing
assessment or guidance. Conversely, all the assessment and guidance in the world will not
make you a better writer unless you take the time to write.
Science writing should be clear and concise, but rules of general writing also apply to science
writing. The following list contains suggestions to improve and strengthen your writing
skills:

1. Organize your thoughts, ideas, and action in a logical manner. Begin with sufficient
background information to take your reader along the pathway from your observations
or understanding to your hypothesis. Describe the context of the background to appeal
to a broad group of readers. Provide sufficient context to communicate the significance
of your inquiry and experimental findings. Omit extraneous information so that the
reader can obtain a clear picture. Group similar ideas together and state your ideas and
thoughts concisely. Present ideas in a consistent manner throughout the manuscript.
JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
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The most common structure of a scientific manuscript is the IMRAD (Introduction,

Methods, Results, and Discussion) format.
2. Provide clear descriptions. Repeating the background or concepts may be necessary
when the concept is complicated. You may need to explain the concept from different
viewpoints. Start simple and then advance the complexity only as far as necessary to
get the concept across. Consider your audience as you write. Are you are writing for a
general audience or a specialized audience? Will your audience understand the terms of
art (i.e., phrases or words common to your particular field of study) or concepts that
underlie your field and your research, or is some prior explanation needed? Keep your
explanations simple.
3. Simplify your word choices. Use simple straightforward language. Your manuscript
will be read by students and researchers alike – make it easy for them to understand and
care about your research even if they are not in your field or are not proficient in
English.
4. Write concisely. Note that “concise writing” is mentioned several times in this article.
Science writing must be concise. No one appreciates long and or unnecessary
descriptions or paragraphs. Use simple and direct language.
5. Use passive and active voice appropriately. In science writing, it is important to
know when to use passive and active voice. Active voice is more natural, direct, and
engaging, and should be used when referring to widely accepted findings. The
Introduction section should mainly be written in an active voice, because you are telling
the story of “what is”. When referring to the findings of a specific study, however,
passive voice should be used. In the Methods and Results sections, passive voice
should be used to discuss what you did and what you found. In the Discussion section,
a mixture of passive and active voice is acceptable, but take care not to mix the two
together in a single sentence.
6. Select the appropriate words. Selecting the appropriate words can be challenging.
The best words accurately capture what the author is trying to convey. If a word is not
sufficiently precise, use a thesaurus to replace the word or phrase with a more
appropriate word. Precise words allow for specific, clear, and accurate expression.
While science writing differs from literature in that it does not need to be colorful, it
should not be boring.
7. Broaden your vocabulary. Use clear, specific, and concrete words. Expand your
vocabulary by reading in a broad range of fields and look up terms you don’t know.
8. Avoid filler words. Filler words are unnecessary words that are vague and meaningless
or do not add to the meaning or clarity of the sentence. Consider the following
examples: “it is”, “it was”, “there is”, and “there has been”, "it is important", “it is
hypothesized that", “it was predicted that", "there is evidence suggesting that", “in
order to”, and "there is a significant relationship". All of these phrases can be replaced
with more direct and clear language.
9. Read what you write. Make sure to vary sentence length to keep the reader from
getting lulled to sleep by a monotonous rhythm. Do not, however, make overly long or
complicated sentences that hinder the reader’s ability to follow your story. Reading the

manuscript yourself after some time away or having someone else read the manuscript
will help you to refine the readability.
10. Optimize paragraph and sentence structure. Each paragraph should present a single
unifying idea or concept. Extremely long paragraphs tend to distract or confuse readers.
If longer paragraphs are necessary, alternate them with shorter paragraphs to provide
balance and rhythm to your writing. A good sentence allows readers to obtain critical
information with the least effort. Poor sentence structure interferes with the flow. Keep
modifiers close to the object they are modifying. Consider the following sentence:
“Systemic diseases that may affect joint function such as infection should be closely
monitored.” In this example, “such as infection” is misplaced, as it is not a joint
function, but rather a systemic disease. The meaning is clear in the revised sentence:
“Systemic diseases, such as infection, that may affect joint function should be closely
monitored.”
11. Use transitions to control the flow. Sentences and paragraphs should flow seamlessly.
Place transitional phrases and sentences at the beginning and end of the paragraphs to
help the reader move smoothly through the paper.
12. Word repetition: Avoid using the same word or phrase over and over when another
more descriptive word or phrase could be used. Ensure that you do not sacrifice
precision for variability.
13. Improve readability with consistent formatting. Although in many cases it is no
longer necessary to format your manuscript for a specific journal before peer review,
you should pay attention to formatting for consistency. Use the same font size
throughout; headings should be bolded or not bolded, all uppercase or not, italicized or
not; and references should be provided in an easy-to-follow, consistent format. Use
appropriate subheadings in the Materials and Methods, and Results sections to help the
reader quickly navigate your paper.
14. Use parallel construction to facilitate understanding. Your hypothesis, experimental
measures, and results should be presented in the same order in the Abstract,
Introduction, Methods, Results, Discussion, and Tables. Words or phrases joined by
coordinating conjunctions (and, but, for, nor, or, so, and yet) should have the same
form.
15. Maintain consistent use of labels, abbreviations, and acronyms. Measures and
variable/group names and labels should be consistent in both form and content
throughout the text to avoid confusing the reader.
16. Use abbreviations and acronyms to aid the reader. Only use abbreviations/acronyms
to help the reader more easily understand the paper. A general rule of thumb is to use
only standard, accepted abbreviations/acronyms that are used at least three times in the
main text of the paper. Whenever using an abbreviation/acronym, ask yourself “Does
this help me or the reader?” Exceptions may apply for those abbreviations/acronyms
that are so commonly used that spelling them out might confuse the reader.
17. Minimize pronoun use for clarity. Make sure every pronoun is very clear, so the
reader knows what it represents. In this case, being redundant may contribute to the
clarity. Don’t refer to this or that, making the reader go back to the previous paragraph
to see what this or that means. Also, limit or avoid the use of “former” and latter”.
JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
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18. Read your writing out loud. Read your final paper out loud to check the rhythm, find
words and phrases that are repeated too many times within and between sentences and
paragraphs. You will often find words that are unnecessary and can be completely
eliminated or replaced with alternative word choices.
Remember, your writing is your chance to show the scientific world who you are. You want
to present a scholarly, clear, well-written description of your interests, ideas, results, and
interpretations to encourage dialogue between scientists. Change your goal from that of
simply publishing your manuscript to that of publishing an interesting manuscript that
encourages discussion, and inspires additional questions and hypotheses due to its
fundamental clarity to the reader.

ONE MORE TRY

Present a video that will show your learning in this language. Post it in our Official Facebook Page for
ABEL Program.

You will be graded with the following rubrics below.

Indicators 5-Very Good 4- Good 3- Average 2-Poor 1-Very Poor

Timeliness Ahead of time On-time Late less than 1 Late less than 2 Very Late
week weeks

Performance The presenter is The presenter is The presenter is The presenter is The presenter is
with Mastery fluent and have quiet fluent and not that fluent not that fluent very obvious
eye to eye have eye to eye and have eye to and have no eye reading.
contact to the contact to the eye contact to to eye contact to
camera. camera. the camera. the camera.

Total(15 points)

TASK 5▪JUST ASSUME

LEARNING MODULE 5
Editorial/Opinion Writing

GET READY

Op-ed

 An op-ed, short for "opposite the editorial page" or as a backronym the "opinions and
editorials page", is a written prose piece, typically published by a North-
American newspaper or magazine, which expresses the opinion of an author usually not
affiliated with the publication's editorial board.[1] Op-eds are different from
both editorials (opinion pieces submitted by editorial board members) and letters to the
editor (opinion pieces submitted by readers). In 2021, The New York Times—the paper
credited with developing and naming the modern op-ed page—announced that it was retiring
the label, and would instead call submitted opinion pieces "Guest Essays." The move was a
result of the transition to online publishing, where there is no concept physically opposing
(adjacent) pages.

Origin
The direct ancestor of the modern op-ed page was created in 1921 by Herbert Bayard
Swope of The New York Evening World. When Swope took over as main editor in 1920, he
realized that the page opposite the editorials was "a catchall for book reviews, society
boilerplate, and obituaries". He wrote:
It occurred to me that nothing is more interesting than opinion when opinion is
interesting, so I devised a method of cleaning off the page opposite the
editorial, which became the most important in America ... and thereon I
decided to print opinions, ignoring facts.
Swope included only opinions by employees of his newspaper, leaving the "modern" op-ed
page to be developed in 1970 under the direction of The New York Times editor John B.
Oakes.[5] The first op-ed page of The New York Times appeared on 21 September 1970.
Writes media scholar Michael J. Socolow of Oakes' innovation:
The Times' effort synthesized various antecedents and editorial visions.
Journalistic innovation is usually complex, and typically involves multiple
external factors. The Times' op-ed page appeared in an era of democratizing
cultural and political discourse and of economic distress for the company
itself. The newspaper's executives developed a place for outside contributors
with space reserved for sale at a premium rate for additional commentaries and
other purposes.

Competition from radio and television

Beginning in the 1930s, radio began to threaten print journalism, a process that was later
accelerated by the rise of television. To combat this, major newspapers such as The New York
Times and The Washington Post began including more openly subjective and opinionated
journalism, adding more columns and increasing the extent of their op-ed pages.

Possible conflicts of interest

The various connections between op-eds, editors, and funding from interest groups have
raised concern. In 2011, in an open letter to The New York Times, a group of U.S. journalists
and academics called for conflict of interest transparency in op-eds.
What are the five principles of ethical journalism explain with suitable
examples?

To promote for the public benefit high ethical standards in journalism, based
on principles of truth and accuracy, independence, fairness and impartiality,
JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
LEARNING MODULE IN ENG 125 (LANGUAGE AND JOURNALISM)
Agusan del Sur State College of Agriculture and Technology MODULE 1 ▪ Page 21 of 62
Trento Campus, Trento, Agusan del Sur

humanity and accountability by the provision of education and training of

journalists and the publication of useful research.

CHARACTERISTICS OF EDITORIAL WRITING

An editorial is an article that presents the newspaper's opinion on an issue. It

reflects the majority vote of the editorial board, the governing body of the
newspaper made up of editors and business managers. It is usually unsigned. Much
in the same manner of a lawyer, editorial writers build on an argument and try to
persuade readers to think the same way they do. Editorials are meant to influence
public opinion, promote critical thinking, and sometimes cause people to take
action on an issue. In essence, an editorial is an opinionated news story.

Editorials have:

1. Introduction, body and conclusion like other news stories

2. An objective explanation of the issue, especially complex issues
3. A timely news angle
4. Opinions from the opposing viewpoint that refute directly the same issues the
writer addresses
5. The opinions of the writer delivered in a professional manner. Good editorials
engage issues, not personalities and refrain from name-calling or other petty tactics
of persuasion.
6. Alternative solutions to the problem or issue being criticized. Anyone can gripe
about a problem, but a good editorial should take a pro-active approach to making
the situation better by using constructive criticism and giving solutions.
7. A solid and concise conclusion that powerfully summarizes the writer's opinion.
Give it some punch.

Four Types of Editorials Will:

1. Explain or interpret: Editors often use these editorials to explain the way the
newspaper covered a sensitive or controversial subject. School newspapers may
explain new school rules or a particular student-body effort like a food drive.
2. Criticize: These editorials constructively criticize actions, decisions or situations
while providing solutions to the problem identified. Immediate purpose is to get
readers to see the problem, not the solution.
3. Persuade: Editorials of persuasion aim to immediately see the solution, not the
problem. From the first paragraph, readers will be encouraged to take a specific,
positive action. Political endorsements are good examples of editorials of
persuasion.
4. Praise: These editorials commend people and organizations for something done
well. They are not as common as the other three.
JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
LEARNING MODULE IN ENG 125 (LANGUAGE AND JOURNALISM)
Agusan del Sur State College of Agriculture and Technology MODULE 1 ▪ Page 22 of 62
Trento Campus, Trento, Agusan del Sur

Writing an Editorial

1. Pick a significant topic that has a current news angle and would interest readers.
2. Collect information and facts; include objective reporting; do research
3. State your opinion briefly in the fashion of a thesis statement
4. Explain the issue objectively as a reporter would and tell why this situation is
important
5. Give opposing viewpoint first with its quotations and facts
6. Refute (reject) the other side and develop your case using facts, details, figures,
quotations. Pick apart the other side's logic.
7. Concede a point of the opposition — they must have some good points you can
acknowledge that would make you look rational.
8. Repeat key phrases to reinforce an idea into the reader's minds.
9. Give a realistic solution(s) to the problem that goes beyond common knowledge.
Encourage critical thinking and pro-active reaction.
10. Wrap it up in a concluding punch that restates your opening remark (thesis
statement).
11. Keep it to 500 words; make every work count; never use "I"

A Sample Structure

I. Lead with an Objective Explanation of the Issue/Controversy.

Include the five W's and the H. (Members of Congress, in effort to reduce the
budget, are looking to cut funding from public television. Hearings were held …)

 Pull in facts and quotations from the sources which are relevant.
 Additional research may be necessary.

II. Present Your Opposition First.

As the writer you disagree with these viewpoints. Identify the people (specifically
who oppose you. (Republicans feel that these cuts are necessary; other cable
stations can pick them; only the rich watch public television.)

 Use facts and quotations to state objectively their opinions.

 Give a strong position of the opposition. You gain nothing in refuting a weak position.

III. Directly Refute The Opposition's Beliefs.

You can begin your article with transition. (Republicans believe public television is a
"sandbox for the rich." However, statistics show most people who watch public television
make less than $40,000 per year.)

 Pull in other facts and quotations from people who support your position.
JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
LEARNING MODULE IN ENG 125 (LANGUAGE AND JOURNALISM)
Agusan del Sur State College of Agriculture and Technology MODULE 1 ▪ Page 23 of 62
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 Concede a valid point of the opposition which will make you appear rational, one who
has considered all the options (fiscal times are tough, and we can cut some of the
funding for the arts; however, …).

IV. Give Other, Original Reasons/Analogies

In defense of your position, give reasons from strong to strongest order. (Taking money away
from public television is robbing children of their education …)

 Use a literary or cultural allusion that lends to your credibility and perceived
intelligence (We should render unto Caesar that which belongs to him …)

V. Conclude With Some Punch.

Give solutions to the problem or challenge the reader to be informed. (Congress should look
to where real wastes exist — perhaps in defense and entitlements — to find ways to save
money. Digging into public television's pocket hurts us all.)

 A quotation can be effective, especially if from a respected source

 A rhetorical question can be an effective concluder as well (If the government doesn't
defend the interests of children, who will?)

Supporting Claims

Kinds of Support Authors Use

Writers are generally most successful with their audiences when they can skillfully and
appropriately balance the three core types of appeals. These appeals are referred to by their
Greek names: logos (the appeal to logic), pathos (the appeal to emotion), and ethos (the
appeal to authority).

Supporting Claims

Kinds of Support Authors Use

Logical Appeals

Authors using logic to support their claims will include a combination of different types of
evidence. These include the following:
JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
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 established facts
 case studies
 statistics
 experiments
 analogies and logical reasoning
 citation of recognized experts on the issue

Authoritative Appeals

Authors using authority to support their claims can also draw from a variety of techniques.
These include the following:

 personal anecdotes
 illustration of deep knowledge on the issue
 citation of recognized experts on the issue
 testimony of those involved first-hand on the issue

Emotional Appeals

Authors using emotion to support their claims again have a deep well of options to do so.
These include the following:

 personal anecdotes
 narratives
 impact studies
 testimony of those involved first-hand on the issue

As you can see, there is some overlap on these lists. One technique might work on two or
more different levels.

Most texts rely on one of the three as the primary method of support, but may also draw upon
one or two others at the same time.

Using the STAR Method to Evaluate Appeals to Logic

Mapping or diagramming the arguments you read in a text may help you judge whether an
appeal is adequately supported. Applying the STAR Criteria—
Sufficiency, Typicality, Accuracy, and Relevance—is one such technique for assessing
whether an argument has sufficient depth and clarity.

ONE MORE TRY

Present a video that will show your learning in this language. Post it in our Official Facebook Page for
ABEL Program.

You will be graded with the following rubrics below.

Indicators 5-Very Good 4- Good 3- Average 2-Poor 1-Very Poor

Timeliness Ahead of time On-time Late less than 1 Late less than 2 Very Late
week weeks

Performance The presenter is The presenter is The presenter is The presenter is The presenter is
with Mastery fluent and have quiet fluent and not that fluent not that fluent very obvious
eye to eye have eye to eye and have eye to and have no eye reading.
contact to the contact to the eye contact to to eye contact to
camera. camera. the camera. the camera.

Total(15 points)

5▪JUST ASSUME

LEARNING MODULE 6
Sports Writing

-Sports writing is a form of journalism or creative nonfiction in which a sporting

event, individual athlete, or sports-related issue serves as the dominant subject.

A journalist who reports on sports is a sportswriter (or sports writer).

-Sports journalism is a form of writing that reports on matters pertaining to sporting

topics and competitions. Sports journalism started in the early 1800s when it was targeted to
the social elite and transitioned into an integral part of the news business with newspapers
having dedicated sports sections.

What Are the Elements of Sports Writing?

Sports writing typically covers basic information, such as:
 highlights of the game
 the names of the teams involved
 the type of sport
 score or final outcome
 when and where the game was played

But in order to write a good sports article, remember to focus on what an athlete does.
Because sports revolve around the drama of competition, spotlighting a single person gives
your story a human side that your readers can relate to.

5 Types of Sports Stories

The following are the five most common types of sports stories:
1. Straight-Lead Game Story
The most basic form of all sportswriting, the straight-lead (also spelled straight-lede) game
story is an article using a straight-news format. The article summarizes the main points of a
game: which team won or lost, the final score, and what a star player did.
A straight-lead might look something like this:
Second-string quarterback Robert Jameson threw the game-winning
touchdown with just 10 seconds left to lead the Mountain View High School
Bears to a 21-14 victory over the Canyon del Oro High School Captains
Saturday night.
After that, the story follows by giving an account of big plays, players who contributed
tremendously to the final outcome, and after-game insights, quoting both players and
coaches.
Many high school and college sports use the straight-lead game story, but sports writers for
professional sports events have veered away from this format.
The reason is that TV already shows the entire game and fans usually know the scores and
highlights before the article makes it to publication.
2. Feature Game Story
The feature game story is a favorite tool for professional sports writers because it gives fans
and readers a different angle from the highlights they have seen on TV.
Here’s an example of an actual sports feature lead involving the Queensland Reds and their
rugby coach, Tevita Koloi:
It’s the start of yet another season. The quiet of the night contrasts with the
vibrant group gathered in the upper room of their local church, fervently
praying. As the clock ticks closer towards midnight, the spiritual coach of the
state’s professional rugby team receives an impression from God – “the last
placed team he is mentoring will win the entire league this very year.”
JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
LEARNING MODULE IN ENG 125 (LANGUAGE AND JOURNALISM)
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Trento Campus, Trento, Agusan del Sur

It is a bold revelation, and he grapples with what to do with this.

After opening with this unique angle, the writer proceeds to describe the prominent rugby
coach’s background, as well as what was going on at the time he had this unusual
experience.
And, as is common trait of feature game stories, he only gets to the scores near the end of the
article—which is fine because readers are not looking to read about the score, which they
already know.
Instead, the story gives them a different perspective of the game and the people involved.
3. Profiles
Whereas a feature game story spotlights a game, a profile features an individual character.
This person might be a rookie athlete rising in the ranks, or perhaps an influential coach.
To show you the difference between a feature game story and a profile, here is an example of
a real-life personality profile opening of the same rugby coach Tevita Koloi:
He stood on the bridge, pondering how everything in his life had gone wrong.
After several years of depression, disappointment, abuse and separation, he
had reached the end of his rope and was ready to end it all. He closed his
eyes, readying himself to take this irreversible step. At that very moment, he
heard a seemingly innocuous noise from below, “Beep-beep! Beep-beep!” He
opened his eyes and reached into his pocket for his phone, intending to read
this message before he went forward with his tragic plan. The words he read,
sent from an acquaintance he was not even particularly close to, shocked him
out of his stupor: “Jesus loves you. He will never leave you. Receive His
love.”
The story then proceeds to describe his battle with depression and suicide, and how he used
the same thing that saved him, text messaging, to help others in the sports world.
4. Season Preview and Wrap-up Stories
Every sportswriter needs season previews and wrap-up stories in their collection. These
stories are published while the coaches and their teams are preparing for the upcoming
season, or after the season has ended—whether in victory or in defeat.
These stories take a bird’s eye view of the season: they normally share the expectations that
coaches and players have, or how they feel at the end of a season.

A fictional example of a lead for this kind of story is:

Coach Sandy Miller has high hopes for the Bannerview High School women’s
volleyball team this year. With the Royals being the county champions last
year, led by dynamic team captain Serena Delgado, who continues to lead the
team this year as a senior. “We believe she’ll bring the team to greater
heights this year,” Coach Miller says.
5. Columns
A sportswriting column is the place where a sportswriter shares their opinion. Sometimes
these columns may include venting when a team, player, or coach doesn’t meet expectations.
Other times, they may write about what they admire in a team, player or coach.
A favorite subject is a coach who is able to direct a weak team to an unexpected
championship, or perhaps an underdog player who demonstrates unusual determination and
teamwork.
Here is an excerpt of a column from The Sports Column:
For me, head-to-head competition is the most significant indicator for seeding,
but not to EIWA coaches.
When coaches use rules/regulations to protect their interests, then athletes
suffer. To make a three-time All-American–a proven wrestler–a 4-seed behind
an opponent he has defeated…well…that’s bad for everybody. And to make
things worse, the only other seeded wrestler who has qualified for the
Nationals (Jared Prince of Navy), is seeded #5, opposite Kolodzik. None of the
other six seeds have had such success this year.
Sports Writing Examples

The best sports writers are able to convey the sense of awe readers feel when watching a
game.
However, sports writing is not limited to simply describing a game: it may also profile an
athlete or unveil important news surrounding a key character in a sport, such as reports of
abuse.
Example #1. From “Roger Federer as Religious Experience” (2006) by David Foster
Wallace:
A top athlete’s beauty is next to impossible to describe directly. Or to evoke.
Federer’s forehand is a great liquid whip, his backhand a one-hander that he
can drive flat, load with topspin, or slice — the slice with such snap that the
ball turns shapes in the air and skids on the grass to maybe ankle height. His
serve has world-class pace and a degree of placement and variety no one else
comes close to; the service motion is lithe and uneccentric, distinctive (on TV)
only in a certain eel-like all-body snap at the moment of impact. His
anticipation and court sense are otherworldly, and his footwork is the best in
the game.
Example #2. From “Most Dominant Athlete of 2018: Simone Biles” by Danyel Smith:
The only thing greater than the legendary, genius, paradigm-shifting athletic status of Simone
Biles is the degree to which so many don’t know or can’t understand what it is that she
actually does. Even if you’ve seen Biles doing a split leap on a box of Special K, you likely
don’t know the depth of her determination to dominate. Some of it is that Biles competes in an
odd, ancient Greek sport based in “disciplined exercise” that conquering Romans militarized
and people now barely pay attention to outside of Summer Olympic years. More of it is that
it’s the American female gymnasts who excel.
Example #3. From “Everyone Believed Larry Nassar” by Kerry Howley
It has by the fall of 2018 become commonplace to describe the 499 known victims of Larry
Nassar as “breaking their silence,” though in fact they were never, as a group, particularly
silent. Over the course of at least 20 years of consistent abuse, women and girls reported to
every proximate authority. They told their parents. They told gymnastics coaches, running
coaches, softball coaches. They told Michigan State University police and Meridian
Township police. They told physicians and psychologists. They told university administrators.
They told, repeatedly, USA Gymnastics. They told one another. Athletes were interviewed,

reports were written up, charges recommended. The story of Larry Nassar is not a story of
silence. The story of Larry Nassar is that of an edifice of trust so resilient, so impermeable to
common sense, that it endured for decades against the allegations of so many women.
How Do You Write a Good Sports Lead?
A lead is the introductory section of a news story, intended to hook the reader into reading the
full story.
To write a good sports lead, first pick which of the 5 types of sports stories you would like to
write. The type of story you choose will determine the lead you write.
If you opt for a straight-news story, pick a highlight from the game you are writing about and
focus on that in your first paragraph.
If you choose a feature or profile, pick something that stands out about the team or person.
Think of a scene that best describes the characteristic you want to highlight. Do you describe
a practice session? A game huddle? Or an after-game interview?
For a season preview or wrap-up story, pick a sport you love and describe a broad perspective
of an upcoming season or the season that just wrapped up, beginning with the best teams.
For or an opinion column, find one angle that you would like to express your opinion on and
that you feel passionate about.
Writing About Sports
Writing about sports is not only exciting, but it also gives us a chance to get to know the
people in our favorite sport and share those findings with our readers.
Excellently written sports stories make these characters come alive, letting fans connect to
their favorite teams in a more meaningful way.

Here are some simple ways to make your writing meet plain language standards:

 Use headings, short sections and short sentences to make your writing easy to
digest.
 Use active voice whenever possible. (Example: “Bob walked the dog” not “The
dog was walked by Bob.”)
 Edit each sentence to get rid of excess words. Sometimes it helps to set a goal of
cutting 25 or 50 words or staying under a certain word count.
 Use precise, specific language. Concrete words are better than abstract ones. For
example, say “Jane has a 41% shooting percentage” instead of “Jane is a great
shooter.”
JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
LEARNING MODULE IN ENG 125 (LANGUAGE AND JOURNALISM)
Agusan del Sur State College of Agriculture and Technology MODULE 1 ▪ Page 32 of 62
Trento Campus, Trento, Agusan del Sur

 Get rid of jargon. In some sports this is unavoidable, so if you must use jargon
try to convey its meaning through the context.
 Use bullet points to highlight information.
 Get rid of sports clichés.
 Try reading your piece out loud. If you stumble over a sentence or find yourself
out of breath at the end of a paragraph, some editing is likely needed.

ONE MORE TRY

Present a video that will show your learning in this language. Post it in our Official Facebook Page for
ABEL Program.

You will be graded with the following rubrics below.

Indicators 5-Very Good 4- Good 3- Average 2-Poor 1-Very Poor

Timeliness Ahead of time On-time Late less than 1 Late less than 2 Very Late
week weeks

Performance The presenter is The presenter is The presenter is The presenter is The presenter is
with Mastery fluent and have quiet fluent and not that fluent not that fluent very obvious
eye to eye have eye to eye and have eye to and have no eye reading.
contact to the contact to the eye contact to to eye contact to
camera. camera. the camera. the camera.

Total(15 points)

5▪JUST ASSUME

LEARNING MODULE 7
Revising, Editing,
Proofreading/Copyreading and
Publishing
LET’S LEARN
You are doing great in the tasks! To give you more ideas and concepts presented on the tasks, here is a lesson you
will learn. Read the texts and lesson below that you will encounter today. Take note of the important main points.

Revision, Editing and Proofreading: What’s the Difference?

Revision: Revision means “re-visioning” your paper. It is “big picture” work. Step back and
ask yourself: does the paper you wrote respond directly to the assignment and its audience,
answer the questions that were posed? Is the argument clear? Is it sufficiently complex?
Check to see if any of the ideas need to be developed, and if you’ve articulated the
relationships among ideas. See if you need to add further evidence or support. Revision can
require adding material, taking material away, working with the big strokes of the paper. It
might involve changing the order of paragraphs and re-crafting topic sentences/transitions. It
may demand re-drafting the introduction and checking the conclusion to see what might be
brought up to the front of the paper. All of this is part of “re-visioning” your paper.

Editing: People often refer to all stages of revision as “editing,” but formal editing is
typically what you do after you revise. Editing involves crafting with a fine tool, and it leads
to improved style and coherence. Here is where you consider your paper as a writer/artist.
Try reading your paper aloud, slowly, in parts. Is the voice clear and confident? Is there a
sense of rhythm and flow in each paragraph, each sentence? Do the sentences connect up
with one another like well-constructed joints? Editing occurs when you correct any
awkwardness that may have occurred in the initial drafting or in revision (revision can be
very helpful to the big picture but create problems within paragraphs, for example). While
you are editing, check the clarity/precision of your title and the accuracy of your reference or
works cited page(s). Careful editing is critical to a polished, well written paper.

Proofreading: Proofreading generally comes last and consists of a final sweep through your
paper with an eye for errors. When proofreading you make your final check for errors in
sentence structure, grammar, verb tense and punctuation. You also look for mistakes in
spelling, use of quotations, citation details, etc. It is important to check that your name is on
your essay and it is desirable to number your pages or perhaps include a word count. This is
your final read-through of your paper, your last chance to impress your reader and show your
commitment to your work. Reading aloud at this stage or any other stage of the revision
process can help you focus more carefully on your writing.

Steps for Revising Your Paper

When you have plenty of time to revise, use the time to work on your paper and to take
breaks from writing. If you can forget about your draft for a day or two, you may return to it
with a fresh outlook. During the revising process, put your writing aside at least twice—once
during the first part of the process, when you are reorganizing your work, and once during the
second part, when you are polishing and paying attention to details.
Use the following questions to evaluate your drafts. You can use your responses to revise
your papers by reorganizing them to make your best points stand out, by adding needed
information, by eliminating irrelevant information, and by clarifying sections or sentences.
FIND YOUR MAIN POINT.
What are you trying to say in the paper? In other words, try to summarize your thesis, or main
point, and the evidence you are using to support that point. Try to imagine that this paper
belongs to someone else. Does the paper have a clear thesis? Do you know what the paper is
going to be about?
IDENTIFY YOUR READERS AND YOUR PURPOSE.

What are you trying to do in the paper? In other words, are you trying to argue with the
reading, to analyze the reading, to evaluate the reading, to apply the reading to another
situation, or to accomplish another goal?
EVALUATE YOUR EVIDENCE.
Does the body of your paper support your thesis? Do you offer enough evidence to support
your claim? If you are using quotations from the text as evidence, did you cite them properly?
SAVE ONLY THE GOOD PIECES.
Do all of the ideas relate back to the thesis? Is there anything that doesn't seem to fit? If so,
you either need to change your thesis to reflect the idea or cut the idea.
TIGHTEN AND CLEAN UP YOUR LANGUAGE.
Do all of the ideas in the paper make sense? Are there unclear or confusing ideas or
sentences? Read your paper out loud and listen for awkward pauses and unclear ideas. Cut
out extra words, vagueness, and misused words.
Visit the Purdue OWL's vidcast on cutting during the revision phase for more help with
this task.
ELIMINATE MISTAKES IN GRAMMAR AND USAGE.
Do you see any problems with grammar, punctuation, or spelling? If you think something is
wrong, you should make a note of it, even if you don't know how to fix it. You can always
talk to a Writing Lab tutor about how to correct errors.
SWITCH FROM WRITER-CENTERED TO READER-CENTERED.
Try to detach yourself from what you've written; pretend that you are reviewing someone
else's work. What would you say is the most successful part of your paper? Why? How could
this part be made even better? What would you say is the least successful part of your paper?
Why? How could this part be improved?

Copy Editor Duties & Responsibilities

This job requires candidates to be able to perform duties that include the following:

 Proofread text and correct spelling, grammar, and punctuation errors

 Verify factual correctness of information, such as dates and statistics
 Check text for style, readability, and adherence to editorial policies
 Arrange page layouts of photos, articles, and advertisements
 Rewrite text to improve clarity and readability


Ten Rules of Proofreading

1. Never proofread your own copy.

2. Read everything in the copy straight through from the beginning to end.
3. Read copy backward to catch spelling errors.
4. Read pages out of order.
5. Have proofreaders initial the copy they check.
6. Have someone read numbers while you check hardcopy.
7. Take short breaks so you can concentrate more clearly.
8. List errors you spot over a month.
9. Alter your routine.
10. Make your marks legible and understandable.

ONE MORE TRY

Present a video that will show your learning in this language. Post it in our Official Facebook Page for
ABEL Program.

You will be graded with the following rubrics below.

Indicators 5-Very Good 4- Good 3- Average 2-Poor 1-Very Poor

Timeliness Ahead of time On-time Late less than 1 Late less than 2 Very Late
week weeks

Performance The presenter is The presenter is The presenter is The presenter is The presenter is
with Mastery fluent and have quiet fluent and not that fluent not that fluent very obvious
eye to eye have eye to eye and have eye to and have no eye reading.
contact to the contact to the eye contact to to eye contact to
camera. camera. the camera. the camera.

Total(15 points)

LEARNING MODULE 8
Photojournalism

LET’S START

Photojournalism is journalism that uses images to tell a news story. It usually only refers to still images,
but can also refer to video used in broadcast journalism. Photojournalism is distinguished from other close
branches of photography (such as documentary photography, social documentary photography, street
photography and celebrity photography) by having a rigid ethical framework which demands an honest but
impartial approach that tells a story in strictly journalistic terms. Photojournalists contribute to the news
media, and help communities connect with one other. They must be well-informed and knowledgeable,
and are able to deliver news in a creative manner that is both informative and entertaining.
Like a writer, a photojournalist is a reporter, but they must often make decisions instantly and
carry photographic equipment, often while exposed to significant obstacles, among them immediate
physical danger, bad weather, large crowds, and limited physical access to their subjects.

History
Origins in war photography

'Barricades on rue Saint-Maur' (1848), the first photo used to illustrate a newspaper story

The practice of illustrating news stories with photographs was made possible by printing and photography
innovations that occurred in the mid 19th century. Although early illustrations had appeared in
newspapers, such as an illustration of the funeral of Lord Horatio Nelson in The Times (1806), the first
weekly illustrated newspaper was the Illustrated London News, first printed in 1842. The illustrations were
printed with the use of engravings.
The first photograph to be used in illustration of a newspaper story was a depiction of barricades in Paris
during the June Days uprising taken on 25 June 1848; the photo was published as an engraving
in L'Illustration of 1–8 July 1848.

Versions of Roger Fenton's Valley of the Shadow of Death, with and without cannonballs on the road

During the Crimean War, the ILN pioneered the birth of early photojournalism by printing pictures of the
war that had been taken by Roger Fenton.[3] Fenton was the first official war photographer and his work
included documenting the effects of the war on the troops, panoramas of the landscapes where the battles
took place, model representations of the action, and portraits of commanders, which laid the groundwork
for modern photojournalism.[4][5] Other photographers of the war included William Simpson and Carol
Szathmari. Similarly, the American Civil War photographs of Mathew Brady were engraved before
publication in Harper's Weekly. The technology had not yet developed to the point of being able to print
photographs in newspapers, which greatly restricted the audience of Brady's photographs. However, it was
still common for photographs to be engraved and subsequently printed in newspapers or periodicals
throughout the war. Disaster, including train wrecks and city fires, was also a popular subject for illustrated
newspapers in the early days.
Expansion

The Crawlers, London, 1876–1877, a photograph from John Thomson's Street Life in London photo-documentary

The printing of images in newspapers remained an isolated occurrence in this period. Photos were used to
enhance the text rather than to act as a medium of information in its own right. This began to change with
the work of one of the pioneers of photojournalism, John Thomson, in the late 1870s.[7] In collaboration
with the radical journalist Adolphe Smith, he began publishing a monthly magazine, Street Life in London,
from 1876 to 1877. The project documented in photographs and text, the lives of the street people
of London and established social documentary photography as a form of photojournalism.[8] Instead of the
images acting as a supplement to the text, he pioneered the use of printed photographs as the
predominant medium for the imparting of information, successfully combining photography with
the printed word.[9]
On March 4, 1880, The Daily Graphic (New York)[10] published the first halftone (rather than engraved)
reproduction of a news photograph.

"Geronimo's camp before surrender to General Crook, March 27, 1886: Geronimo and Natches mounted; Geronimo's
son (Perico) standing at his side holding baby." By C. S. Fly.

In March 1886, when General George Crook received word that the Apache leader Geronimo would
negotiate surrender terms, photographer C. S. Fly took his equipment and attached himself to the military
column. During the three days of negotiations, Fly took about 15 exposures on 8 by 10 inches (200 by
250 mm) glass negatives.[11] His photos of Geronimo and the other free Apaches, taken on March 25 and
26, are the only known photographs taken of American Indians while still at war with the United States.
[12] Fly coolly posed his subjects, asking them to move and turn their heads and faces, to improve his
composition. The popular publication Harper's Weekly published six of his images in their April 24, 1886
issue.[11]
JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
LEARNING MODULE IN ENG 125 (LANGUAGE AND JOURNALISM)
Agusan del Sur State College of Agriculture and Technology MODULE 1 ▪ Page 40 of 62
Trento Campus, Trento, Agusan del Sur

In 1887, flash powder was invented, enabling journalists such as Jacob Riis to photograph informal
subjects indoors, which led to the landmark work How the Other Half Lives.[13] By 1897, it became
possible to reproduce halftone photographs on printing presses running at full speed. [14][15]
In France, agencies such as Rol, Branger and Chusseau-Flaviens (ca. 1880–1910) syndicated photographs
from around the world to meet the need for timely new illustration. [16] Despite these innovations,
limitations remained, and many of the sensational newspaper and magazine stories in the period from 1897
to 1927 were illustrated with engravings. In 1921, the wirephoto made it possible to transmit pictures
almost as quickly as news itself could travel.
Golden age
The "Golden Age of Photojournalism" is often considered to be roughly the 1930s through the 1950s. [17] It
was made possible by the development of the compact commercial 35mm Leica camera in 1925, and the
first flash bulbs between 1927 and 1930, which allowed the journalist true flexibility in taking pictures.

The Berliner Illustrirte Zeitung pioneered modern photojournalism and was widely copied. Pictured, the cover of issue
of 26 August 1936: a meeting between Francisco Franco and Emilio Mola.

A new style of magazine and newspaper appeared that used photography more than text to tell stories.
The Berliner Illustrirte Zeitung was the first to pioneer the format of the illustrated news magazine.
Beginning in 1901, it began to print photographs inside the magazine, a revolutionary innovation. In the
successive decades, it was developed into the prototype of the modern news magazine. [18]
It pioneered the photo-essay,[18][19] had a specialised staff and production unit for pictures and maintained
a photo library.[20] It also introduced the use of candid photographs taken with the new smaller cameras.[21]
The magazine sought out reporters who could tell a story using photographs, notably the pioneer sports
photographer Martin Munkácsi, the first staff photographer,[22][23] and Erich Salomon, one of the founders
of photojournalism.[24]
Other magazines included, Arbeiter-Illustrierte-
Zeitung (Berlin), Vu (France), Life (USA), Look (USA), Picture Post (London)); and newspapers, The
Daily Mirror (London) and The New York Daily News. Famous photographers of the era included Robert
Capa, Romano Cagnoni, Alfred Eisenstaedt, Margaret Bourke-White and W. Eugene Smith.[citation needed]
Henri Cartier-Bresson is held by some to be the father of modern photojournalism, [25] although this
appellation has been applied to various other photographers, such as Erich Salomon, whose candid pictures
of political figures were novel in the 1930s.

The photojournalism of, for example, Agustí Centelles played an important role in the propaganda efforts
of the Republican side in the Spanish Civil War in the late 1930s.[27]

In Migrant Mother Dorothea Lange produced the seminal image of the Great Depression. The FSA also employed
several other photojournalists to document the depression.

American journalist Julien Bryan photographed and filmed the beginning of the Second World War being
under heavy German bombardment in September 1939 in Poland. [28] He was pioneer worker in color
photography, Kodachrome.
William Vandivert photographed in color the German bombardment of London called the Blitz in 1940.
[citation needed]

Soldier Tony Vaccaro is also recognized as one of the pre-eminent photographers of World War II. His
images taken with the modest Argus C3 captured horrific moments in war, similar to Capa's Spanish
soldier being shot. Capa himself was on Omaha Beach on D-Day and captured pivotal images of the
conflict on that occasion. Vaccaro is also known for having developed his own images in soldier's helmets,
and using chemicals found in the ruins of a camera store in 1944.[29]
Until the 1980s, most large newspapers were printed with turn-of-the-century "letterpress" technology
using easily smudged oil-based ink, off-white, low-quality "newsprint" paper, and coarse engraving
screens. While letterpresses produced legible text, the photoengraving dots that formed pictures often bled
or smeared and became fuzzy and indistinct. In this way, even when newspapers used photographs well —
a good crop, a respectable size — murky reproduction often left readers re-reading the caption to see what
the photo was all about. The Wall Street Journal adopted stippled hedcuts in 1979 to publish portraits and
avoid the limitations of letterpress printing. Not until the 1980s did a majority of newspapers switch to
"offset" presses that reproduce photos with fidelity on better, whiter paper. [citation needed]

Boy destroying piano at Pant-y-Waen, South Wales, by Philip Jones Griffiths, 1961

By contrast Life, one of America's most popular weekly magazines from 1936 through the early 1970s,
was filled with photographs reproduced beautifully on oversize 11×14-inch pages, using fine engraving
screens, high-quality inks, and glossy paper. Life often published a United Press International (UPI)
or Associated Press (AP) photo that had been first reproduced in newspapers, but the quality magazine
version appeared to be a different photo altogether. In large part because their pictures were clear enough
to be appreciated, and because their name always appeared with their work, magazine photographers
achieved near-celebrity status. Life became a standard by which the public judged photography, and many
of today's photo books celebrate "photojournalism" as if it had been the exclusive province of near-
celebrity magazine photographers.
In 1947 a few famous photographers founded the international photographic cooperative Magnum Photos.
In 1989 Corbis Corporation and in 1995 Getty Images were founded. These powerful image libraries sell
the rights to photographs and other still images.
Decline

Sports photojournalists at Indianapolis Motor Speedway

The Golden Age of Photojournalism ended in the 1970s when many photo-magazines ceased publication,
most prominently, Life, which ended weekly publication in December 1972.[30] They found that they could
not compete with other media for advertising revenue to sustain their large circulations and high costs.
Still, those magazines taught journalism much about the photographic essay and the power of still images.
[31]

However, since the late 1970s, photojournalism and documentary photography have increasingly been
accorded a place in art galleries alongside fine art photography. Luc Delahaye, Manuel Rivera-Ortiz and
the members of VII Photo Agency are among many who regularly exhibit in galleries and museums.[32]

Professional organizations[edit]
The Danish Union of Press Photographers (Pressefotografforbundet) was the first national organization for
newspaper photographers in the world. It was founded in 1912 in Copenhagen, Denmark by six press
photographers.[33] Today it has over 800 members.
The National Press Photographers Association (NPPA) was founded in 1946 in the U.S., and has about
10,000 members. Others around the world include the British Press Photographers Association [34] (BPPA)
founded in 1984, then relaunched in 2003, and now has around 450 members. Hong Kong Press
Photographers Association (1989), Northern Ireland Press Photographers Association (2000),
Pressfotografernas Klubb (Sweden, 1930), and PK — Pressefotografenes Klubb (Norway).
Magnum Photos was founded in 1947 by Robert Capa, David "Chim" Seymour, Henri Cartier-
Bresson, George Rodger, William Vandivert, Rita Vandivert and Maria Eisner, being one of the first
photographic cooperatives, owned and administered entirely by its members worldwide.
VII Photo Agency was founded in September 2001 and got its name from the original seven
founders, Alexandra Boulat, Ron Haviv, Gary Knight, Antonin Kratochvil, Christopher Morris, James
Nachtwey and John Stanmeyer. Today it has 30 members, along with a mentor program.
News organizations and journalism schools run many different awards for photojournalists. Since
1968, Pulitzer Prizes have been awarded for the following categories of photojournalism: 'Feature
Photography', 'Spot News Photography'. Other awards are World Press Photo, Best of Photojournalism,
and Pictures of the Year as well as the UK based The Press Photographer's Year.

Ethical, legal, and social considerations

Photojournalists at the 2016 Labour Party Conference in Liverpool

Photojournalism works within the same ethical approaches to objectivity that are applied by other
journalists. What to shoot, how to frame and how to edit are constant considerations. Photographing news
for an assignment is one of the most ethical problems photographers face. Photojournalists have a moral
responsibility to decide what pictures to take, what picture to stage, and what pictures to show the public.
For example, photographs of violence and tragedy are prevalent in American journalism because as an
understated rule of thumb, that "if it bleeds, it leads". The public is attracted to gruesome photographs and
dramatic stories. A lot of controversy may arise when deciding which photographs are too violent to show
the public.
Photographs of the dead or injured arouse controversy because, more often than not, the name of person
depicted in the photograph is not given in the caption. The family of the person is often not informed of the
photograph until they see it published. The photograph of the street execution of a Viet Cong
JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
LEARNING MODULE IN ENG 125 (LANGUAGE AND JOURNALISM)
Agusan del Sur State College of Agriculture and Technology MODULE 1 ▪ Page 44 of 62
Trento Campus, Trento, Agusan del Sur

soldier during the Vietnam War provoked a lot of interest because it captured the exact moment of death.
The family of the victim was also not informed that the picture would run publicly.Being exposed to such
violence can have physiological and psychological effects on those who document it and is but one of
many different forms of emotional labor that photojournalists report experiencing.
Other issues involving photojournalism include the right to privacy, negotiating how the subject desires to
be depicted,[38] and questions of whether compensation is warranted. Especially regarding pictures of
violence, photojournalists face the ethical dilemma of whether or not to publish images of the victims. The
victim's right to privacy is sometimes not addressed or the picture is printed without their knowledge or
consent.
Another major issue of photojournalism is photo manipulation – what degree is acceptable? Some pictures
are simply manipulated for color enhancement, whereas others are manipulated to the extent where people
are edited in or out of the picture. War photography has always been a genre of photojournalism that is
frequently staged. Due to the bulkiness and types of cameras present during past wars in history, it was
rare when a photograph could capture a spontaneous news event. Subjects were carefully composed and
staged in order to capture better images. Another ethical issue is false or misleading captioning. The 2006
Lebanon War photographs controversies is a notable example of some of these issue, and see photo
manipulation: use in journalism for other examples.
The emergence of digital photography offers whole new realms of opportunity for the manipulation,
reproduction, and transmission of images. It has inevitably complicated many of the ethical issues
involved.
Often, ethical conflicts can be mitigated or enhanced by the actions of a sub-editor or picture editor, who
takes control of the images once they have been delivered to the news organization. The photojournalist
often has no control as to how images are ultimately used.
The National Press Photographers Association (NPPA) is an American professional society that
emphasizes photojournalism. Members of the NPPA accept the following code of ethics

1. The practice of photojournalism, both as a science and art, is worthy of the very
best thought and effort of those who enter into it as a profession.
2. Photojournalism affords an opportunity to serve the public that is equaled by few
other vocations and all members of the profession should strive by example and
influence to maintain high standards of ethical conduct free of mercenary
considerations of any kind.
3. It is the individual responsibility of every photojournalist at all times to strive for
pictures that report truthfully, honestly and objectively.
4. Business promotion in its many forms is essential, but untrue statements of any
nature are not worthy of a professional photojournalist and we severely condemn
any such practice.
5. It is our duty to encourage and assist all members of our profession, individually
and collectively, so that the quality of photojournalism may constantly be raised
to higher standards.
6. It is the duty of every photojournalist to work to preserve all freedom-of-the-press
rights recognized by law and to work to protect and expand freedom-of-access to
all sources of news and visual information.
7. Our standards of business dealings, ambitions and relations shall have in them a
note of sympathy for our common humanity and shall always require us to take
into consideration our highest duties as members of society. In every situation in
our business life, in every responsibility that comes before us, our chief thought
shall be to fulfill that responsibility and discharge that duty so that when each of
us is finished we shall have endeavored to lift the level of human ideals and
achievement higher than we found it.

8. No Code of Ethics can prejudge every situation, thus common sense and good
judgment are required in applying ethical principles.

Unethical practices
Most photojournalists consider stage-managed shots presented as candid to be unethical. There have been
examples in the history of photojournalism of photographers purposefully deceiving their audience by
doing so.
Mike Meadows, a veteran photographer of the Los Angeles Times, was covering a major wild fire
sweeping southern California on 27 October 1993. His picture of a Los Angeles County firefighter, Mike
Alves cooling himself off with water in a pool in Altadena ran both in the Times and nationally. Prior to
submitting the photograph for a Pulitzer Prize, Meadows' assignment editor, Fred Sweets, contacted the
firefighter, who reportedly said he had been asked by Meadows to go to the pool and splash water on his
head. Meadows denied the accusation, claiming "I may have been guilty of saying this would make a nice
shot, but to the best of my recollection, I did not directly ask him to do that. ... I've been doing breaking
news stories for years and years and I've never in my life set up a picture." Meadows was suspended
without pay for a week and picture was withdrawn from any prize competitions – the Times called it a
"fabrication" and the paper's photography director, Larry Armstrong, said "when you manipulate the
situation, you manipulate the news."
Edward Keating, a Pulitzer Prize winner from The New York Times, photographed a young boy pointing a
toy gun outside a Middle Eastern grocery store, near a town where the FBI raided an alleged Al Qaeda cell.
Other photographers at the scene claimed that Keating pointed with his own arm to show the boy which
way to look and aim the gun. After the Columbia Journalism Review reported the incident, Keating was
forced to leave the paper.

Impact of new technologies

Roger Fenton's Photographic Van, 1855, formerly a wine merchant's wagon; his assistant is pictured at the front.

As early as the Crimean War in the mid-19th century, photographers were using the novel technology of
the glass plate camera to record images of British soldiers in the field. As a result, they had to deal with not
only war conditions, but their pictures often required long shutter speeds, and they had to prepare each
plate before taking the shot and develop it immediately after. This led to, for example, Roger
Fenton traveling around in a transportable dark room, which at times made him a target of the enemy.
These technological barriers are why he was unable to obtain any direct images of the action.
The use of photography as a way of reporting news did not become widespread until the advent of smaller,
more portable cameras that used an enlargeable film negative to record images. The introduction of the
35 mm Leica camera in 1925 made it possible for photographers to move with the action, take multiple
shots of events as they were unfolding, as well as be more able to create a narrative through their
photographs alone.
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Since the 1960s, motor drives, electronic flash, auto-focus, better lenses and other camera enhancements
have made picture-taking easier. New digital cameras free photojournalists from the limitation of film roll
length. Although the number depends on the amount of megapixels the camera contains, whether one's
shooting mode is JPEG or raw, and what size of memory card one is using, it is possible to store thousands
of images on a single memory card.

Leica 1, (1925)'s introduction marked the beginning of modern photojournalism.

Social media are playing a big part in revealing world events to a vast audience. Whenever there is a major
event in the world, there are usually people with camera phones ready to capture photos and post them on
various social networks. Such convenience allows the Associated Press and other companies to reach out
to the citizen journalist who holds ownership of the photos and get permission to use those photos in news
outlets.
The content of photos tends to outweigh their quality when it comes to news value. On February 18, 2004,
The New York Times published on their front page a photo of AT&T CEO John Zeglis which was taken
with a camera phone.[46] Content remains the most important element of photojournalism, but the ability to
extend deadlines with rapid gathering and editing of images has brought significant changes. As recently
as 15 years ago, nearly 30 minutes were needed to scan and transmit a single color photograph from a
remote location to a news office for printing. Now, equipped with a digital camera, a mobile phone and
a laptop computer, a photojournalist can send a high-quality image in minutes, even seconds after an event
occurs. Camera phones and portable satellite links increasingly allow for the mobile transmission of
images from almost any point on the earth.
There is some concern by news photographers that the profession of photojournalism as it is known today
could change to such a degree that it is unrecognizable as image-capturing technology naturally progresses.
[47] Staff photojournalism jobs continue to dwindle in the 2010s and some of the largest news media outlets
in the U.S. now rely on freelancers for the majority of their needs. [48] For example, in 2016, the New York
Times employed 52 photo editors and relied on freelancers to provide 50 percent or more of its visuals;
The Wall Street Journal employed 24 photo editors and relied on freelancers for 66 percent of its features
imagery and 33 percent of its news imagery; The Washington Post employed 19 photo editors and relied
on freelancers for 80 percent of its international news imagery, 50 percent of its political news imagery,
and between 60 and 80 percent of its national news imagery.
The age of the citizen journalist and the providing of news photos by amateur bystanders have contributed
to the art of photojournalism. Paul Levinson attributes this shift to the Kodak camera, one of the first cheap
and accessible photo technologies that "put a piece of visual reality into every person's potential
grasp."[49] The empowered news audience with the advent of the Internet sparked the creation
of blogs, podcasts and online news, independent of the traditional outlets, and "for the first time in our
history, the news increasingly is produced by companies outside journalism". Dan Chung, a former
photojournalist for The Guardian and Reuters, believes that professional photojournalists will have to
adapt to video to make a living.[52] Most digital single lens reflex bodies are being equipped with video
capabilities.
Phone journalism

Phone journalism is a relatively new and even controversial means of photojournalism, which involves the
use of pictures taken and edited on phones by professional or non-professional photographers.
In recent years, as social media has become major platform on which people receive news and share
events, Phone photography is gaining popularity as the primary tool for online visual communication. A
phone is easy to carry and always accessible in a pocket, and the immediacy in taking pictures can reduce
the intervention of the scene and subjects to a minimum. With the assistance of abundant applications,
photographers can achieve a highly aesthetic way of conveying messages. Once the pictures are uploaded
onto social media, photographers can immediately expose their work to a wide range of audiences and
receive real-time feedback from them. With a large number of active participants online, the pictures could
also be spread out in a short period of time, thus evoking profound influence on society.
Having noticed the advantages of the combination of social media and Phoneography, some well-known
newspapers, news magazines and professional photojournalists decided to employ Phone journalism as a
new approach. When the London Bombings happened in July 2005, for the first time, both the New York
Times and the Washington Post ran photos on their front pages made by citizen journalists with camera
phones.[53] As work of witnesses and survivors, the images were less the outcome of documentary intent
than a response to a traumatic shock.[53] These photos represented 'vivid, factual accounts of history as it
explodes around us',[53] as described by Washington Post journalist Robert MacMillan. In another instance,
when superstorm Sandy hit the East Coast, causing great damage and casualty, Time sent out five
photographers with iPhones to document the devastation. Photographers dived deep into the site and
captured pictures in close proximity to the storm and human suffering. One of the shots, raging ocean
waves collapsing on Coney Island in Brooklyn, taken by Benjamin Lowy, made the cover of Time's
November 12 issue. Then in 2013, the Chicago Sun-Times got rid of its entire staff of 28 photographers,
including John H. White, a Pulitzer Prize winner in photography. The newspaper cited viewers shifting
towards more video as a reason. They then employed freelance photographers and required them to train in
how to use an iPhone for photography to fill the gap. Some viewers online were quick to point out an at
times reduction in quality in comparison to the newspaper's previous full-time professionals.

ONE MORE TRY

Present a video that will show your learning in this language. Post it in our Official Facebook Page for
ABEL Program.

You will be graded with the following rubrics below.

Indicators 5-Very Good 4- Good 3- Average 2-Poor 1-Very Poor

Timeliness Ahead of time On-time Late less than 1 Late less than 2 Very Late
week weeks

Performance The presenter is The presenter is The presenter is The presenter is The presenter is
with Mastery fluent and have quiet fluent and not that fluent not that fluent very obvious
eye to eye have eye to eye and have eye to and have no eye reading.
contact to the contact to the eye contact to to eye contact to
camera. camera. the camera. the camera.

Total(15 points)

LEARNING MODULE 9
Cartooning and Lay-outing
GET READY

LET’S LEARN

Cartooning and Lay-outing

Cartoons, whether in animated or print form, are a part of the daily lives of millions of people
throughout the world. They encompass a broad range of subject matter that can be humorous
or serious, realistic or fanciful, purely entertaining or bitingly satiric. People of all ages and
backgrounds enjoy some form of cartoons.

A cartoon is a single drawing or series of drawings that makes a point or tells a joke or story
about such subjects as human activities and habits, political and historical events, fads,
fashions, and sports. Cartoons are closely related to caricatures, which are drawings in which
a person or an action is depicted with exaggerated or distorted features. The Italian artist
Leonardo da Vinci is often credited with having developed the caricature form in the 15th
century.

Until the mid–19th century the word cartoon referred to preliminary drawings made by artists
in developing their plans for paintings, mosaics, and tapestries. The English humor
magazine Punch, first published in 1841, is regarded as the catalyst in expanding the
definition of cartoons to include drawings of humor, wit, satire, and parody.

Today, the two main forms of cartoons are either those that appear in printed periodicals
(newspapers, magazines, and comic books), or the animated cartoons of motion pictures and
television. Common forms of print cartoons include editorial cartoons, comic strips, and gag
panels. The editorial or “opinion” pages of newspapers and magazines often feature editorial
cartoons, which are usually single-panel drawings that portray the cartoonist’s view of
current events, prominent personalities, and public issues. Although many editorial cartoons
are humorous, most of them also make a serious point about their subject. The comics pages
of daily newspapers feature both gag panels and comic strips. A gag panel tells a joke in a
single drawing (called a panel), whereas a comic strip consists of two or more panels that tell
a joke or present an episode in a continuing story.

Animated cartoons are a series of drawings filmed and projected as motion pictures.
Newspaper cartoonists J. Stuart Blackton and Winsor McCay are credited with having
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pioneered the form with their animated short films of the early 1900s. Since then, animated
cartoons have become a hugely popular form of entertainment. They are also used in
television advertising and to present instructional materials in schools, industry, and the
armed forces.

ORIGINS OF THE CARTOON

The use of pictures to tell stories and to record experiences began in prehistoric times when
history’s first recorded artists drew pictures on the walls of caves. In the sculptural and
decorative arts of ancient cultures, such as those of Egypt, Greece, and Rome, the pictorial
narrative was used to record historical events, the lives of important people, and legends. (See
also communication; Egypt, ancient; Greek and Roman art.)

During the Middle Ages, hand-drawn illustrations with captions supplemented the texts
of books and illuminated manuscripts. In the famous Bayeux tapestry, depicting William the
Conqueror’s invasion of England, captions follow the action from scene to scene much as
they do in comic strips.

In the 15th century, the invention of the printing press with movable type enabled written and
pictorial matter to be reproduced in quantity. From the 16th to the 18th century, news of all
kinds reached the general public by means of heavily illustrated printed broadsheets, flyers,
and pamphlets. Many of the illustrations were early forms of the editorial cartoon.

Courtesy National Gallery of Art, Washington, D.C., Rosenwald Collection, 1945.5.1220

Artists also contributed to the development of pictorial comedy and wit. In England the
satirical engravings of William Hogarth, depicting human follies and weaknesses, became so
popular that his works were often pirated. Thomas Rowlandson, who drew political satires,
anticipated the comic strip in his “Tours of Dr. Syntax”—a series of humorous drawings
using one cast of characters in a continuing story. James Gillray and George Cruikshank also
became well known for their political satires. Gillray is chiefly remembered for his lively jabs
at King George III of England and Napoleon.

By the early decades of the 19th century, when newspapers and magazines began to reach
wide audiences, satirical and political cartoons were well-established features of journalism.
In France the periodical Le Charivari, founded in 1832, featured the caricatures of Honoré
Daumier. Almanacs of pictorial humor became popular in England with the publication
of Punch, England’s first illustrated comic weekly. The wit and humor in Le
Charivari and Punch were powerful forces of social and political comment.

EARLY CARTOONS IN THE UNITED STATES

Cartooning in the United States began during the colonial period. The early American
cartoons, like the European, dealt with political and public issues. Benjamin Franklin is
credited with creating the first American political cartoon.

Most of the early American cartoonists were engravers whose work remained anonymous.
Their cartoons were either published in collections of humorous art or reproduced and sold as
flyers. During the 1820s American cartooning received new impetus from developments in
lithography that made the reproduction of drawings easier and cheaper and from the subject
matter provided by the personality and policies of President Andrew Jackson. At mid-century
American cartoons dealt largely with partisan politics, government policies, and such facets
of American life as the California gold rush.

Library of Congress, Washington, D.C.

Cartoons were used extensively to comment on the issues and the progress of the Civil War,
and Abraham Lincoln was a favorite subject for cartoonists. Following the war, new
magazines of wit such as Puck (founded in 1877) and Judge (founded in 1881) provided
outlets for hundreds of cartoonists.

POLITICAL AND EDITORIAL CARTOONS

The greatest political cartoonist of the late 19th century was Thomas Nast. Noted for his
cartoon crusades against political corruption in the United States, Nast also popularized the
symbols of the country’s major political parties—the Republican elephant and the
Democratic donkey. (For Nast cartoons, see political party.)

During the 1890s political cartoons became daily features of many newspapers. In style they
evolved toward bolder, less crowded composition and a more direct and forceful presentation.
Noted editorial cartoonists of the time included Homer Davenport, who attacked corrupt
business trusts and child labor, and John T. McCutcheon, known as the Dean of American
Cartoonists, whose work offered gentle and nostalgic insight into American life. His best-
known cartoon, “Injun Summer,” was reprinted annually by the Chicago Tribune for several
decades after its initial appearance in 1907.

Early in the 20th century, cartoons of political dissent began to appear in such magazines
as The Masses. Radical cartoonists such as Art Young, Robert Minor, and painters George
Bellows and John Sloan were among the small, influential group that used The Masses to
criticize American life and institutions.
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The first Pulitzer prize for cartooning was awarded in 1922 to Rollin Kirby, a newspaper
editorial cartoonist whose use of the single figure as a symbol (such as a lone soldier to
represent the entire U.S. military) influenced later political cartoonists. Kirby was an
outspoken supporter of women’s suffrage and civil liberties, and he boldly attacked political
corruption and the Ku Klux Klan. Awarded additional Pulitzer prizes in 1925 and 1929,
Kirby later used his cartoons to lend support to President Franklin D. Roosevelt’s New Deal
programs.

Other leading American editorial cartoonists prominent in the years between the two world
wars included Jay N. (Ding) Darling, a supporter of President Woodrow Wilson’s proposed
League of Nations; Nelson Harding, an anti-Communist who flourished during the “Red
Scare” after World War I; Edmund Duffy, whose drawings illustrated H.L. Mencken’s
reporting of the famous Scopes trial in 1925; and Daniel Fitzpatrick, whose stark drawings
helped turn American opinion against Nazi Germany and fascism in the years before World
War II.

Perhaps the two best-known American editorial cartoonists of the 20th century were Herbert
Block (Herblock) and Bill Mauldin. Block was especially noted for his harsh criticism of
Senator Joseph McCarthy during the 1950s and is often credited with having coined the term
McCarthyism. Block was awarded the Pulitzer prize three times and the Presidential Medal of
Freedom in 1994. Bill Mauldin’s cartoons, which often depicted the hard-knock lives of
infantrymen Willie and Joe, first appeared in the military publication Stars and Stripes and
were later circulated in several American newspapers. He became the youngest-ever recipient
of the Pulitzer prize in 1945. After the war, Mauldin was an impassioned critic of racism and
McCarthyism and temporarily retired when several newspapers refused to publish his
cartoons. Returning to work in 1958, he was awarded a second Pulitzer prize the following
year.

GAG PANELS

Beginning in the 1870s single panel humorous cartoons—gag panels—gained in popularity.

The cartoonists who drew them aimed their wit at types of people rather than individuals,
satirized everyday life, and ridiculed human pretensions.

Some gag panels were little more than illustrated puns; others remained close to caricature.
A.B. Frost, Hy Mayer, Frank (Chip) Bellew, W.A. Rogers, and T.S. Sullivant were notable
gag cartoonists of the pre–World War I era.

Following World War I the gag panel reached new levels of sophistication in The New
Yorker, Vanity Fair, and other magazines. The New Yorker cartoonists—who included such
people as James Thurber, Charles Addams, Helen Hokinson, and Saul Steinberg—perfected
both the cartoon with a one-line caption and the wordless cartoon.
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Nonpolitical panel cartoons became a daily feature of newspapers in the late 19th century.
They were often originated by newspaper staff artists and aimed at a wide audience. When
press syndicates began handling comic materials near the turn of the century, newspapers
syndicated their popular daily panels. In this way a cartoon originating in one newspaper
reached a nationwide audience.

Although magazines tend to be more conducive to gag panels, several newspaper cartoonists
achieved success with the form. Two of the most prominent were Hank Ketchum, whose
mischievous “Dennis the Menace” first appeared in 1951; and Gary Larson, creator of “The
Far Side,” an offbeat but hugely popular comic that often depicted animals, insects, and
inanimate objects displaying human, and sometimes subversive, impulses.

COMIC STRIPS

The comic strip, developed by cartoonists in the United States, was anticipated in Europe by
stories in cartoon form that were published in newspapers, magazines, and books. Rodolphe
Töpffer, a Swiss, divided the drawings in his picture stories by frames and provided a
continuing written narrative below each frame. The picture story subsequently gained
popularity in Germany, where Wilhelm Busch became noted for “Max und Moritz,” a series
of illustrated, moralistic poems about two youthful pranksters. England’s first comic strip
hero was Ally Sloper, a character first drawn by Charles H. Ross in 1867 and continued by
various artists—including Isabelle Emily de Tessier, W.G. Baxter, and W.F. Thomas—until
1923.

In the United States the comic strip evolved during the 1890s as a result of competition
between the newspapers of Joseph Pulitzer and William Randolph Hearst. At that time
newspapers were just beginning to print pages in color. In February 1896, Pulitzer’s New
York World published the first comic panel in color—“Down Hogan’s Alley” by Richard
Outcault. Outcault used the yellow shirt of one of the characters as a space to print messages,
jokes, and slogans—and thus moved the written word into the picture itself. Immediately
popular, these Yellow Kid panels established colored comics as a regular newspaper feature.
Hearst met this competition by starting a weekly eight-page comic supplement to his New
York Journal in October 1896. In 1897 he began publishing “The Katzenjammer Kids,” a
strip by Rudolph Dirks modeled on “Max und Moritz.”

By the turn of the century, syndicated weekly comics were being used by newspapers all over
the country, and many cartoonists were turning to the comic strip. Two of the popular early
strips were “Happy Hooligan,” by Opper, and “Little Nemo in Slumberland,” by Winsor
McCay. “Little Nemo” eventually came to be regarded as one of the greatest comic strips of
all time and was especially renowned for McCay’s elaborate, surrealistic dream sequences.

The first daily newspaper comic strip, Bud Fisher’s “Mr. A. Mutt,” appeared in 1907. Within
a few months it became “Mutt and Jeff.”

By 1920, cartoonists had experimented with different styles, established comic strips with a
wide range of subjects, and created many memorable characters. George McManus’
“Bringing Up Father” was the first comic strip to achieve international popularity. Rube
Goldberg, in “Boob McNutt,” and Milt Gross, in “Count Screwloose of Toulouse,” created
the innocent man adrift in a mad world. Harry Hershfield’s “Abie the Agent” pioneered the
ethnic strip.

George Herriman’s intellectual, poetic “Krazy Kat,” which first appeared in 1910 and ran for
more than 30 years, was a deceptively simple strip in which the title character interpreted
hurled bricks from Ignatz the Mouse as a sign of love. “Krazy Kat” employed endless
variations on this theme to explore the human psyche. Also notable was Herriman’s use of
surrealistic landscapes and New York vernacular.

Many of the comic strips introduced in the 1920s centered upon home and family life. These
included “Gasoline Alley,” by Frank King; “Toots and Caspar,” by Jimmy Murphy; and “The
Gumps,” by Sidney Smith. The working girl was the subject of Martin Branner’s “Winnie
Winkle” and Russ Westover’s “Tillie the Toiler.” Harold Gray’s “Little Orphan Annie” often
provoked controversy for its conservative views, yet it was a popular adventure serial that
also spawned a top-rated radio series and, in later years, a hit Broadway musical. Other
notable strips of the decade were Frank Willard’s “Moon Mullins,” Billy DeBeck’s “Barney
Google,” and Elzie Segar’s “Thimble Theatre,” which introduced the enduringly popular
character of Popeye the Sailor. Chic Young’s “Blondie” appeared in 1930 and, under a
succession of artists and writers following Young’s death in 1973, maintained its successful
run into the 21st century.

New themes were featured in the comic strips of the 1930s. Chester Gould’s “Dick Tracy”
introduced the detective; Ham Fisher’s “Joe Palooka” depicted the world of sports; Al Capp’s
“Li’l Abner” satirized American life and society; and a number of cartoonists developed the
adventure strip. Milton Caniff, in “Terry and the Pirates,” combined realism with fine
draftsmanship. Harold Foster, who originated the jungle-adventure strip with “Tarzan” in
1929, later created the historical adventure in “Prince Valiant.” Alex Raymond, in “Flash
Gordon,” and Philip Nowlan, in “Buck Rogers,” popularized the science-fiction strip.

Caniff’s “Terry and the Pirates” comic strip introduced a realistic approach to current events
as early as 1937. During World War II many cartoonists sent their comic strip heroes into
combat. Other comic strip heroes, such as Dick Tracy, fought saboteurs at home or worked in
war industries.

During the 1950s comics with intellectual appeal became increasingly popular. “Miss Peach,”
by Mel Lazarus, “The Wizard of Id,” by Johnny Hart and Brant Parker, Hart’s “B.C.,” and
the cartoons of Jules Feiffer exemplified this new type of comic strip. This trend was
reflected in what was undoubtedly the most successful, influential, and beloved comic strip of
all time, Charles M. Schulz’s “Peanuts,” which debuted on Oct. 2, 1950, and continued until
the artist’s death at age 77 in early 2000. The strip’s characters—including Charlie Brown
and his beagle Snoopy and friends Lucy and Linus, among others—became iconic figures of
popular culture. “Peanuts” eventually appeared in more than 2,600 newspapers in 75
countries and was translated into more than 20 languages; it also spawned several television
specials, movies, and thousands of commercial products.

Many comics took on a decidedly political slant during the latter half of the 20th century. An
early forerunner of such strips was Walt Kelly’s classic “Pogo,” which first appeared in
newspapers in 1948. Although its satire was gentle and whimsical compared to later
politically oriented strips, its thoughtful examination of American culture proved timeless.
More overtly political was Garry Trudeau’s “Doonesbury,” which began life in the Yale
Daily News in 1968 and was syndicated nationally shortly thereafter. Drawing the strip on a
tight deadline, Trudeau was able to satirize news events with the timeliness of a daily
political cartoonist.

Despite such political trends, gag strips still dominated the comics pages during the late 20th
and early 21st centuries. Among the best were Bill Watterson’s “Calvin and Hobbes,” Darby
Conley’s “Get Fuzzy,” and Berkeley Breathed’s strips “Bloom County,” “Outland,” and
“Opus.”

ANIMATED CARTOONS

The animated cartoon was developed primarily as a form of motion-picture entertainment.

The first animated cartoon in the United States was Humorous Phases of Funny Faces,
copyrighted by J. Stuart Blackton in 1906. Crude by today’s standards with its use of simple
animated chalkboard drawings, Blackton’s film was nevertheless a revelation at the time.
Winsor McCay’s Gertie the Dinosaur, regarded as the most influential of the early animated
cartoons, appeared in 1909 and was shown to vaudeville audiences around the country. “Cel”
animation, in which drawings on clear sheets of celluloid are overlaid on a stationary
background, had not yet been conceived, so McCay painstakingly drew background objects
anew for each frame of the film. McCay’s superb draftsmanship and fluid sense of movement
gave viewers an animated creature that seemed to have a personality, a presence, and a life of
her own. With Gertie, the first cartoon star had been born.

The world’s most famous animator, Walt Disney, began making short animated cartoons
based on children’s stories in 1923. In 1928 he introduced Mickey Mouse in the first
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animated sound cartoon, Steamboat Willie, which became an immediate sensation.

Throughout the next decade, Disney would add such elements as carefully synchronized
music (The Skeleton Dance, 1929), Technicolor (Flowers and Trees, 1932), and the illusion
of depth with his multiplane camera (The Old Mill, 1937), a device that allowed for animated
cels to be photographed against a three-dimensional background.
Although not the first animated feature, Disney’s Snow White and the Seven Dwarfs (1937)
was the first to use up-to-the-minute techniques and the first to receive widespread release.
The film’s success can be attributed in part to Disney’s willingness to use animation to create
a profound dramatic experience. He strove for photographic realism in films such
as Pinocchio (1940), Dumbo (1941), and Bambi (1942).

Douglas Pizac—AP/Shutterstock.com

With the advent of television in the second half of the 20th century, studios sought ways to
produce inexpensive cartoons with the rapid output demanded by the new medium. The most
common cost-cutting and labor-saving technique was that of limited animation, in which
fewer drawings were used than had been common up to that time. One of the first films to
employ the technique was Gerald McBoing Boing (1950), an Academy award–winning short
created by children’s book author Theodor Geisel (better known as Dr. Seuss). The most
successful exponents of limited animation were director-producers William Hanna and
Joseph Barbera, who produced popular television cartoons featuring characters such as
Huckleberry Hound, Yogi Bear, and Scooby-Doo. Their most successful effort, The
Flintstones, was among the first prime-time cartoon series when it premiered in 1960.

Fox Broadcasting Company

For years limited-animation shows were relegated mostly to Saturday-morning children’s

fare. This situation changed with the premiere of Matt Groening’s The Simpsons in 1989.
Praised by many critics as among the funniest shows in television history, The Simpsons was
noted for its satiric social commentary and absurd humor. It was also an inspiration for other
prime-time cartoons that appeared in the 1990s, such as Mike Judge’s Beavis and Butt-
Head and Trey Parker and Matt Stone’s South Park.

The success of television cartoons led to the virtual disappearance of animated shorts
produced for theatrical release. Animated feature-length films, however, flourished,

especially after the release of Disney’s The Little Mermaid (1989), regarded by many as the
studio’s best animated feature in decades. Other Disney blockbusters followed,
including Beauty and the Beast (1991), Aladdin (1992), The Lion King (1994), and Lilo &
Stitch (2002). The development of computer animation was the single greatest advancement
in the form since the time of Blackton and McCay and resulted in feature films of astounding
visual sumptuousness. In 2001 the Academy of Motion Picture Arts and Sciences added a
new Academy award for best animated feature film. The first recipient of the award
was Shrek (2001). Other major animated features were Toy Story (1995) and Toy Story
2 (1999), A Bug’s Life (1998), Monsters, Inc. (2001), and Finding Nemo (2003).

Despite such increasing sophistication in animation techniques, limited animation continued

to thrive outside of television in the internationally popular form of Japanese anime.
Forerunners of the modern anime style included the features Alakazam the Great (1960)
and The Littlest Warrior (1961), which compensated for their limited use of animation with
highly detailed artwork that often displayed an avant-garde touch. The most influential
creator of such works was Osamu Tezuka, who abandoned his career as a comic-book artist
in the 1950s to become to Japanese anime what Walt Disney was to American animation.

Some anime, such as the popular Pokémon series of the 1990s, was geared for children, but
many films were highly sexual and violent in content and were targeted specifically at adult
audiences. Among the successful feature films in the anime form were Akira (1988), Pom
Poko (1994), and Ghost in the Shell (1995). One of the most acclaimed directors of animation
in Japan was Miyazaki Hayao, who attained international renown with such masterpieces
as Princess Mononoke (1997) and Spirited Away (2001).

ONE MORE TRY

Present a video that will show your learning in this language. Post it in our Official Facebook Page for
ABEL Program.

You will be graded with the following rubrics below.

Indicators 5-Very Good 4- Good 3- Average 2-Poor 1-Very Poor

Timeliness Ahead of time On-time Late less than 1 Late less than 2 Very Late
week weeks

Performance The presenter is The presenter is The presenter is The presenter is The presenter is
with Mastery fluent and have quiet fluent and not that fluent not that fluent very obvious
eye to eye have eye to eye and have eye to and have no eye
JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
LEARNING MODULE IN ENG 125 (LANGUAGE AND JOURNALISM)
Agusan del Sur State College of Agriculture and Technology MODULE 1 ▪ Page 57 of 62
Trento Campus, Trento, Agusan del Sur

contact to the contact to the eye contact to to eye contact to reading.

camera. camera. the camera. the camera.

Total(15 points)

LEARNING MODULE 10
Script Writing and Newscasting
GET READY

What makes good broadcast writing?

Good broadcast writers use words that sound good. They also use words that
evoke images, even when they know that visual elements will dominate their story. Try
reading this aloud, from a story by NBC correspondent Steve Dotson about a cave rescue that
had plenty of video:

Imagine slithering through a block of swiss cheese a mile and a half long.
Climbing up a thousand-foot maze dragging a broken leg. That’s what it was like for
Emily Mobley. She clawed her way beneath the earth for four days, after an 80-pound
boulder slipped and crushed her in a cave . . . .

Or this, from the late CBS correspondent Charles Kuralt, about Little Big Horn:

This is about a place where the wind blows, the grass grows, and a river flows below a
hill. There is nothing here but the wind and the grass and the river. But of all places in
America, this is the saddest place I know.

That’s a great story, even before you have seen the video. You can’t wait to learn why such a
simple place can be so sad.

Good broadcast writers know that much of the appeal of most of their stories will
be emotional, because they will reach a bigger audience than just those who will be affected
rationally. That affects their impact, elements, words decisions significantly.

Good broadcast writers use words that can capture an audience and create
understanding the first time. A broadcast audience does not have the option of re-reading a
sentence that was hard to follow.

Good broadcast writers know someone has to read what they wrote aloud, on the
air. They avoid most multiple-syllable words, words that are tough to pronounce, and long,
convoluted sentences.

Good broadcast writers cut to the chase quickly, but in a conversational

style. After all, their audience will see and hear someone telling them the story, much as in a
conversation. But, unlike in a conversation, no one will answer the news reader, and the
“conversation” will be much, much shorter. A 30-second RDR, for example, takes up only
about seven lines as a computer file.

Writing the RDR – a familiar process

Remember the writing process we have been working on since the beginning. Think before
you write. Find the impact and the elements, and then wrestle with the words. Writing for
broadcast, like all good writing, begins with thinking about your audience, and how
information will affect that audience.

For example, your lede, story focus, and details about a bus driver strike in New York City
will be different for an audience in Jeffersonville than for one in New York, so you will
probably make different decisions about impact and elements. The Jeffersonville piece might
quickly tell viewers that 6,000 New York bus drivers called in sick today, leaving hundreds
of thousands of commuters stranded. Both stories will focus on the what – the work stoppage.
But in the Jeffersonville story the primary who will be the bus drivers, who will evoke either
sympathy or anger – emotional impact – from your audience. In New York, the
primary who becomes the commuters who were stranded. Commuters are your New York
audience, and they’re affected rationally by the strike. Both stories would probably include
one or two more brief sentences on why the bus drivers are striking – the contract issues.

It is in the way we put words together that RDRs differ most from print stories.

Some tips for RDRs

To help you with the brevity and more conversational style of broadcast writing, try
the following:

Give your audience a few seconds to pay attention. Remember that broadcast
audiences cannot re-read a story. Anything you write at the beginning of your RDR is apt to
be lost when it is read aloud to viewers who haven’t decided yet whether they should listen.
“In Valleydale tonight” is a terrible way to start a newspaper lede. But it can give a broadcast
audience an essential attention cue, and give ears a chance to tune in to the story.

Locate your story for your audience right away. Again, telling audience members
who might be 100 miles away at the outset that your story is from Beausoleil will help them
make an immediate go/no-go decision on whether to pay attention.

Write as you speak, only better. Remember that radio and TV are conversational
media. We begin by writing stories, but then we tell them orally. Tell your story to your
audience as though you’re telling it to your best friend or your mother. Let’s say you saw a
church burning in Valleydale. Would you say, “Mom, 150 years of history went up in smoke
today . . . .”? Not unless your mother was a little strange. You’d say something like, “Mom,
Valleydale Presbyterian Church is on fire. Its steeple is about to fall.” Use conversational
language, but avoid slang and bad taste, and don’t insult the intelligence of your listeners or
viewers.

Limit yourself to one thought per sentence. You’ll be able to develop clearer, more
concise stories if you do. Keep not just your ledes but all your sentences to no more than 20
words. Strive for an average of about 15.

Make your RDR resonate without pictures. Using the right words often means using
senses besides vision to show your audience what is going on. Read again the examples
above from Steve Dotson and Charles Kuralt.

Write for the ear. Remember, a viewer or listener will hear the story rather than read it. Rely
on the active voice, short sentences, short words, a conversational style. Avoid subordinate or
relative clauses. Treat them instead as separate sentences, much as you would in a Web blurb:

Not: “Two people were killed today when a light plane, which had just taken off from
Jeffersonville Regional Airport, crashed into a mountainside.”

Try instead: “Two people died in a plane crash near Jeffersonville this morning. The
Cessna two-seater slammed into a mountain just after taking off from the regional airport.”

Look for ways to put the story in the present tense. Broadcast news strives for more
immediacy than print news. But don’t lie; if an event has ended by the time you broadcast,
put its aftermath in the present tense, not the event itself. “President Obama meets with his
cabinet” may be okay as a five-second tease to a newscast, but if the meeting has already
happened, focus your story on the result: “Cabinet members are refusing to comment on what
happened during a four-hour meeting with President Obama this morning.” Another
advantage of this approach is that by focusing on what is happening now you will probably
convey the real impact of the story more effectively.

Avoid quoting people in RDRs. Remember that it is awkward or impossible for the
anchor to convey when someone is being quoted. If you must use a quote, look for ways to do
that clearly but stylishly:

Not the hackneyed: “The President said, and I quote . . . .”

Instead, try: “The president praised crew members for handling themselves
— as he put it – ‘with such class and dignity.’”

Or: “The President added: ‘We appreciate your mission, but most of all we
appreciate your character.’”

Read it aloud. Remember that an anchor has to read your story aloud, and an audience
has to understand it the first time. Viewers or listeners can’t go back and read it again. The
best way to get an anchor — or a viewer — to come after you with an ax is to write a
sentence like this: “City Manager Ron Allen ‘Don’ Prentice, who has been tenaciously
resisting efforts by two City Council members to secure his dismissal, today again refused to
resign, saying he would fight to keep his job.” Sharpen your focus: “In Valleydale, City
Manager Don Prentice is vowing to fight to keep his job. Two City Council members have
tried repeatedly to force Prentice to quit. The latest effort came at last night’s City Council
meeting.”

Now time yourself reading it aloud. RDRs should run no longer than 30 seconds. Again,
that’s about seven lines, because the anchor will read at a pace of about four seconds per line.

The sometimes baffling technological requirements of broadcast news might require a special
writing touch. WSLS News Channel 10/used by permission
Ethics
The focus of many discussions of ethics in broadcast journalism is on the intrusive nature of
gathering information for electronic media. Even modern cameras are pretty noticeable, and
the mechanics of shooting good video can mean that sources and subjects of stories feel as if
they have been assaulted. I hope you have an opportunity to discuss the ethics of broadcast
journalism more extensively in subsequent courses. But even if you are writing RDRs,
without visual images to worry about, there are some ethical considerations to keep in mind.

First, the format itself creates some issues: Is 30 seconds enough time to give audiences a
fair account of an event or issue? For some stories, it obviously is not. RDRs should be
used for stories whose impact can be conveyed in three or four 15-word sentences. Where the
event or issue is more complex, consider a longer package that includes video and sound
bites.

Second, in striving for a conversational tone, are we trivializing a story or ridiculing the
people in it? There is a difference between a conversational tone and inappropriate light-
heartedness, mocking or sarcasm.

Third, as I mentioned earlier, do the characteristics of broadcast writing give audiences a

false impression of events or the timing of action? The most obvious example is the focus
on present tense in RDRs: “Beachgoers find their favorite seashore infested with sharks” is
JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
LEARNING MODULE IN ENG 125 (LANGUAGE AND JOURNALISM)
Agusan del Sur State College of Agriculture and Technology MODULE 1 ▪ Page 61 of 62
Trento Campus, Trento, Agusan del Sur

fine if the sharks are still there. If we are still using present tense to “freshen” a story that
described the situation yesterday, we might be misleading our viewers and causing
unnecessary concern.

Fourth, as in print writing, are we careful to make the words serve the facts? In making
our writing as compelling as possible, there is a constant temptation to outrun what we know.

Strategies
Familiarize yourself with this summary of our tips for writing effective broadcast RDRs:

1. As you do when you write for print, find the impact and the elements, and then
wrestle with the words that will show.

2. Give your audience a few seconds to pay attention. Remember that broadcast
audiences cannot re-read a story.

3. Locate your story for your audience right away.

4. Write as you speak, only better.

5. Limit yourself to one thought per sentence. And strive for an average sentence length of
about 15 words.

6. Make your RDR resonate without pictures.

7. Write for the ear. Remember, a viewer or listener will hear the story rather than
read it.

8. Look for ways to put the story in the present tense. But make sure you are
reflecting what is truly happening now.

9. Avoid quoting people in RDRs.

10. Read it aloud. Remember that an anchor has to read your story aloud, and an audience
has to understand it the first time. Viewers or listeners can’t go back and read it again.

11. Time yourself reading it aloud. RDRs should run no longer than 30 seconds.

Box 5.1 Strategies for Writing 30-second RDRs

1. Remember: Impact, elements, words.

2. Give your audience a few seconds to pay attention. Locate your story to let give
individual viewers or listeners know whether they should pay attention. Otherwise, though,
leave crucial information out of the first few words. Remember that broadcast audiences can’t
re-read a lede.

3. Write just a little more formally than you speak. Try for a conversational tone.
JOY S. AMBIA
Instructor , AB English Language
College of Arts and Sciences
Material Developer, Copyright © 2020
LEARNING MODULE IN ENG 125 (LANGUAGE AND JOURNALISM)
Agusan del Sur State College of Agriculture and Technology MODULE 1 ▪ Page 62 of 62
Trento Campus, Trento, Agusan del Sur

4. Keep your sentences to about 15 words. Don’t clutter them with multiple facts.

5. Make your story resonate without pictures. Even though you are writing for broadcast,
don’t assume that images will accompany your story. Brief RDRs often don’t use them.

6. Write for the ear. It is not enough for your story to make sense; it should sound good.

7. Put the story in the present tense, but only if you can do that without deceiving your
audience.

8. Avoid writing quotes for the anchor to read. If you must use one, convey clearly when
someone is being quoted.

9. As you work through successive drafts, read every one aloud.

10. Time yourself reading your final version aloud. If it runs longer than 30 seconds,
tighten it. Don’t try reading it faster.

LET’S EXAMINE

ONE MORE TRY

Present a video that will show your learning in this language. Post it in our Official Facebook Page for
ABEL Program.

You will be graded with the following rubrics below.

Indicators 5-Very Good 4- Good 3- Average 2-Poor 1-Very Poor

Timeliness Ahead of time On-time Late less than 1 Late less than 2 Very Late
week weeks

Performance The presenter is The presenter is The presenter is The presenter is The presenter is
with Mastery fluent and have quiet fluent and not that fluent not that fluent very obvious
eye to eye have eye to eye and have eye to and have no eye reading.
contact to the contact to the eye contact to to eye contact to
camera. camera. the camera. the camera.

Total(15 points)

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