Tag: #innovation

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“Everyone should be required to do something to innovate every year”

For our study on Gen Z and news consumption for Mediengruppe Wiener Zeitung I interviewed the independent news creator Sophia Smith Galer. Sophia used to work for the BBC and Vox Media before going independent, she doesn’t only do journalism herself but also helps other journalists getting better at publishing on platforms like TikTok where younger audiences tend to be. Among other things, she serves on the Future Board of Mediahuis.  

Sophia, what do media organizations need to know if they want to reach young people today? 

Sophia Smith Galer: They need to understand young people’s viewing habits and reading habits and where they feel overserved and underserved. 

Is there something like “the younger audience”, or how would you segment it? 

Young people are not one monolith. Their habits vary depending on every demographic mix. Proper audience needs research would reveal those differences in detail. But it takes a lot of time of being on these platforms to figure out how to give audiences what they want. For example, young men can be reached more easily on YouTube, female audiences on Instagram. But ever since I left my BBC job, I never had the remit of reaching young people. My remit is just that I reach people.

Some media brands have experienced that: If they aim to reach young people, they discover they reach broader audiences.  

A lot of people will say that if they grow on platforms associated with young audiences like TikTok, YouTube, or Instagram, they will find growth, discoverability and awareness rising amongst audience far older. If you grow, you grow.

You worked for the BBC and Vice and turned to be an independent journalist creator in 2023. What do you know about the audiences you are reaching? 

To take Instagram where I’m the most active, my audiences are primarily in the 25 to 34 age bracket. That makes sense: I am 31 years old, a lot of creators tend to reach their own age group. But there are factors beyond one’s control. I’m British, but Americans are my biggest audience on Instagram, even though I spent just a few weeks of my life in America. So, it’s a great tool for discoverability across borders. 

You left the BBC in 2021 to get more creative freedom. These days you are advising Belgium-based Mediahuis on their Future Insights Board. What do you think about the ability of legacy media to advance with younger audiences?

A lot of the newsrooms that are making high-quality social media content on places like Instagram and TikTok are halfway there. That is if they have prioritized vertical video which is the growth engine right now. The big but is that publisher accounts simply do not have the reach or appeal that individual accounts have on these platforms. Audiences are drawn to influential expert individuals, and I think that more journalists should be occupying those roles and disseminating information themselves. 

So, it is key for legacy organizations to empower their individual journalists?

Definitely. Many journalists have to rely on a small, very underresourced video team in their newsroom that is in charge of the newsroom’s entire digital presence. That’s simply not how social media works. Social media is a peer-to-peer network of individuals. 

Do you see examples of organizations doing a good job at this?

In the marketing and commercial worlds, you’re seeing companies taking advantage of concepts like EGC – employee-generated content. Some offer staff incentives and training to be better ambassadors of their work. And to do that safely and freely and have fun with it and get benefits from it, staff need to have the freedom to post without being micromanaged. In fact, journalists could be very good at this because they are used to standing up for their work. A print journalist may appear on broadcast media to represent their work, for example. This is not different from representing your work on a platform like TikTok.

But even that is challenging for many journalists who have been trained to keep a low profile as individuals and disappear behind their reporting and their brand. 

A lot of journalists I have trained or surveyed say they don’t have the video skills, and they don’t have the time. But if they have too many obstacles to become ambassadors of their work, they will remain invisible online. And if they are invisible, their work will be invisible. That’s what really worries me, even more because a lot of the information on Instagram and TikTok is not good. It could really be improved if we had better storytellers there.

You just published a report on a sample of 526 UK journalists, revealing that the majority lacks a strong following on the platforms that matter with the public. They hang out among themselves on X when they could be reaching audiences on Insta, TikTok and YouTube. Is that because they don’t want to or because they don’t get the opportunity by their publishers? 

There are two groups: those who want to do this but haven’t been able to and those who really don’t want to do this. They do not think it is the job of a journalist today to amplify their work on social media. Obviously, I disagree with that personally. But I do come from a public service journalism background where it was really drummed into me that if I do journalism, the whole point is that as many people as physically possible can see it. If you’re not a public service journalist, maybe you can afford to not want to upskill yourself to put your journalism on social media.

Is it also because many journalists still expect people to come to them rather than the other way round?

They may possess quite hierarchical views of the newsroom. In the UK, we’re still seeing an environment where the output of the social media teams may not be seen as prestigious as the output of other teams. We need to stop talking about vertical video as innovation and start talking about it as platform risk mitigation. We need to make sure that we remain visible in an increasingly fragmenting online space where video is getting more important and where a lot of us are digitally homeless following the exodus from X.

What would you advise editors-in-chief to do? 

Newsrooms get the best results if they work with reporter talent who do original, distinctive journalism that is connected to the signature content of the newsroom and wins paying subscribers. This is a way to really amplify not only what you stand for, what you write or film or publish about, but what’s why you’re worth being paid. Identifying that talent and nurturing them and keeping hold of them is its own art, but there are plenty of frameworks from existing journalism structures to rely on. It isn’t reinventing the wheel, but it does take a bit of digital ambition and newsroom culture shift around what it means to be a reporter. It is not just you publish the story and that’s that, and you have nothing to do with the impact or discourse that is created around it. 

What are the major mistakes you have been observing in the media industry?

If a newsroom is making demands, but has not bothered to invest in resources and training for the staff to meet them. Also, in many newsrooms pioneering new formats or taking an interest in the sustainability of the organization does not figure in somebody’s career progression. What’s needed is a cultural shift: The entire workforce should have a vested interest in the future of the company that they’re working for. Everyone should be required to do something to innovate every year. But many senior journalists can’t see the crisis I can see because I am so chronically online. And for junior staff, it can be quite hard to translate that to those who have the power and decision-making abilities. Senior decision makers must become better listeners. This would retain junior staff because they would feel they were having a greater impact on the company’s future. Also, there has always been this church and state separation in newsrooms between commercial and editorial. But there is not a single content creator who divides church and state. They all have to be very editorially and commercially minded.

Is there anything on the content and format sides that could be improved?

 At the moment we’re seeing a lot of high-quality vertical video explainers that look identical to each other. I don’t think it’s sustainable because ultimately, you’re not building communities around your work. It’s within those communities that you’re going to do those important conversions that everyone in the business side of your newsroom is desperate to win over.

You have been very successful as a female creator. But there is a huge gender gap in the creator economy. In a study published by the Reuters Institute, 83 percent of the creators that were mentioned by those surveyed were male. One major reason seems to be that women shy away from online harassment – they are way more exposed to it than men.

That worries me, too. In the data set of my study, the highest profile women are individuals who have big jobs in TV. They’ve had strong backing from the traditional television industry and were famous pre-social media, they entered the race with a big following. As social media platforms may have become increasingly toxic or dangerous experiences, these women have a lot of institutional power and real-life resources and money that can help keep them safe. Whereas it’s the people who are yet to acquire these jobs and sort of fame who have to navigate this toxic environment without these resources. Many will not be able to make it because of how awful an experience they’re going to have online. 

You have embraced the AI age decisively by creating the Sophiana App that helps journalists to get proficient on TikTok. Could you explain your thinking behind this?

From the work I’ve done, I identified a clear need for a tool that could help journalists make vertical video more quickly and at a higher quality. And we know from research that news audiences are happier with journalists using AI tools if it keeps the human in the loop. Sophiana helps translate the written work into a TikTok friendly script that the journalist would have otherwise not been able to do at all or to the quality I expect. It includes a teleprompter so they can film it quickly. The tool centres the journalists’ work, helps them translate it, amplify it, keeping them front and centre and in total editorial control.

How do you think the AI environment will shape the way we all consume news? 

The most pressing change is the decline in website traffic. People are getting answers from speaking to AI agents, but where will the newsroom stand to make money in that new environment? I don’t see a lot of people who are worried about AI misinformation and AI slop. Audiences are really annoyed about all of that, that’s why they are on our side already. A bigger problem is audiences knowing who we are and how to support creative industries in this time of flux. They’re not going to know about it unless we talk to them about it.  

Data suggests social media usage peaked in 2022 and has been declining. Is this just a post-pandemic effect, or could there be more to it?

I think a lot of social media platforms have become less pleasant to use because of how much advertising is forced on people and how changes to what appears on a feed can put you off spending loads of time on it. I agree that there’s going to be a dip because people want to get back to real life. But I don’t think a decline in social media use is going to be an issue we have to deal with in the next three years minimum. 

This interview was conducted as part the study “A miss is as good as a mile: A qualitative study on Gen Z and journalism in Austria, featuring perspectives from users, media professionals, and international experts.”  You can find more information and the full study here. The study was commissioned by Zentrum für Medienwissen der Mediengruppe Wiener Zeitung, Co-Author was Jana Koch. The interview was published here.

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Gen Z and News: How to engage young audiences with journalism – advice from Austria and the world

There are tons of assumptions out there about young people and news consumption – and many of them are NOT backed by evidence. In fact, young people trust media brands, if certain conditions are met. They are interested in news and have a long attention span, if something matters to them and they feel their needs matter to news brands. They are not only on TikTok, and they might trust creators more at times, but that happens often when regular media fail them.

Jana Koch of Mediengruppe Wiener Zeitung and I have researched the topic for many month and led dozens of qualitative interviews. Jana spoke to young people and Austrian editors, I interviewed international experts. The result was a 150-page-report: “Knapp daneben ist auch vorbei”. You can read the executive summary in English here.  Furthermore, I will publish the expert interviews here separately one by one (stay tuned).  You can download the complete report in German (an English version is in the making).  

 

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Nieman Lab Prediction 2024: Everyone in the Newsroom Gets Training

Up to now, the world’s newsrooms have been populated by roughly two phenotypes. On the one hand, there have been the content people (many of whom would never call their journalism “content,” of course). These include seasoned reporters, investigators, or commentators who spend their time deep diving into subjects, research, analysis, and cultivating sources and usually don’t want to be bothered by “the rest.”

On the other hand, there has been “the rest.” These are the people who understand formats, channel management, metrics, editing, products, and audiences, and are ever on the lookout for new trends to help the content people’s journalism thrive and sell. But with the advent of generative AI, taking refuge in the old and surprisingly stable world of traditional journalism roles will not be an option any longer. Everyone in the newsroom has to understand how large language models work and how to use them — and then actually use them. This is why 2024 will be the year when media organizations will get serious about education and training.

“We have to bridge the digital divide in our newsrooms,” says Anne Lagercrantz, vice CEO of Swedish public broadcaster SVT. This requires educating and training all staff, even those who until now have shied away from observing what is new in the industry. While in the past it was perfectly acceptable for, say, an investigative reporter not to know the first thing about SEO, TikTok algorithms, or newsletter open rates, now everyone involved with content needs to be aware of the capabilities, deficiencies, and mechanics of large language models, reliable fact-checking tools, and the legal and ethical responsibilities that come with their use. Additionally, AI has all the potential to transform good researchers and reporters into outstanding ones, serving as powerful extensions to the human brain. Research from Harvard Business School suggested that consultants who extensively used AI finished their tasks about 25% faster and outperformed their peers by 40% in quality. It will be in the interest of everyone, individuals and their employers, that no one falls behind.

But making newsrooms fit for these new challenges will be demanding. First, training requires resources and time. But leadership might be reluctant to free up both or tempted to invest in flashy new tools instead. Many managers still fall short of understanding that digital transformation is more a cultural challenge than it is a tech challenge.

Second, training needs trainers who understand their stuff. These are rare finds at a time when AI is evolving as rapidly as it is over-hyped. You will see plenty of consultants out there, of course. But it will be hard to tell those who really know things from those who just pretend in order to get a share of the pie. Be wary when someone flashes something like the ten must-have tools in AI, warns Charlie Beckett, founder of the JournalismAI project at the London School of Economics. Third, training can be a futile exercise when it is not paired with doing. With AI in particular, the goal should be to implement a culture of experimentation, collaboration, and transparency rather than making it some mechanical exercise. Technological advances will come much faster than the most proficient trainer could ever foresee.

Establishing a learning culture around the newsroom should therefore be a worthwhile goal for 2024 and an investment that will pay off in other areas as well. Anyone who is infected with the spirit of testing and learning will likely stretch their minds in areas other than AI, from product development to climate journalism. So many of today’s challenges for newsrooms require constant adaptation, working with data, and building connections with audiences who are more demanding, volatile, and impatient than they used to be. It is important that every journalist embraces at least some responsibility for the impact of their journalism.

It is also time that those editorial innovators who tend to run into each other at the same conferences open their circles to include all of the newsroom. Some might discover that a few of their older colleagues of the content-creator-phenotype could teach them a thing or two as well — for example, how to properly use a telephone. In an age when artificial fabrication of text, voice, or image documents is predicted to evolve at a rapid pace, the comeback of old-style research methods and verification techniques might become a thing. But let’s leave this as a prediction for 2025.

This post was published in Harvard’s Nieman Lab’s Journalism Predictions 2024 series on 7th December 2023.  

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The Power of the Middle – Not even media leaders themselves think that they have the best ideas

Middle management in companies more often than not suffers from its infamous reputation. They are branded as rule-abiding busy bees, nitpickers who stick to processes just as much as they stick to their own chairs, managers, definitely not leaders. If they were, they would have long been promoted to the top – or so it is taught in many a business school. Former Siemens CEO Peter Löscher once spoke of a “clay layer,” the term even survived his own career in the company. A word that is like a slap in the face of all those tireless getting-things-doners who not only keep the company running on a daily basis, but also strive for constant improvement and overhaul, whether there is a crisis or not.

In the media industry, bosses are apparently no longer so sure about that clay layer. In the new “Journalism, media and technology trends and predictions” report by Nic Newman, which the Reuters Institute in Oxford publishes regularly at the beginning of the year, top managers were at least refreshingly self-critical about their own capacity to generate top ideas. Only about one in four (26 percent) of the 234 executives surveyed from 43 countries said they were convinced that top management generates the best ideas. The problem, as Nic Newman frames it: Innovation might not come from the top, “but companies are still run that way”. The report is not representative, but it is a must-read in the industry precisely because the respondents tend to be leaders who are particularly concerned about progress.

But where do they see innovation coming from? Nearly three-quarters revealed that data and audience research were most likely to give them a leg up, 68 percent bet on mixed teams from different areas, and still just under one in two admitted to borrowing the best strategies from other media companies. Okay, according to the survey, editors-in-chief and media managers trusted middle management as such even less (17 percent) than they trusted themselves. But who meets in the mixed teams, who evaluates audience data and derives strategies from it, who attends the relevant industry meetings, reads up on foreign material and then reports to the C-level? That’s right, in the very most common case, it’s the mid-level.

It is often those who are not celebrated as heroes in any industry publication and who neither management literature nor research has an eye on. They are the ones who are closest to the difficulties – and often therefore to the solutions. But they are also the ones for whom demands from employees and customers alike pile up into a sandwich of expectations. They are expected to be both operationally reliable and to think strategically and manage change. And if something goes wrong, it’s up to them to pick up the pieces and rebuild them into something else – in management-speak this is coined as “celebrating failure.

This layer of dedicated and loyal drivers of innovation, many of whom are at an age and in situations where family work demands additional work from them, is – no surprise – most at risk of burnout. Lucy Küng, who researches cultural change in media companies that go digital, has revealed this in countless interviews, including in her latest book: “Hearts and Minds: Harnessing Leadership, Culture and Talent to Really Go Digital.” This results in a huge brain and talent drain, she emphasizes again and again.

Yet many managers consider the mid level worthy of support only as long as they themselves are part of it. As soon as they have made it into top positions, they recoin themselves as visionaries. Gianpiero Petriglieri, a professor at INSEAD Business School, calls this “leaderism.” Instead of valuing reliable and constructive management, which is so necessary especially in times of crisis, he says, people celebrate visionaries whose ideas all too often go down with them. The glorification of leadership on the one hand and the devaluation of management qualities on the other is a dangerous pair of opposites that is still taught, but does more harm than good, especially in crises, he eloquently describes in the essay: “Why leadership isn’t a miracle cure for the Covid-19 crisis (and what can really help).” It is time to put less hope in leadership and more humanity into management, Petriglieri said. Judging by the “Trends and Predictions” report, many media managers already understand this. Humility can be the first step toward innovation.

This text was first published in German with Hamburg Media School Blog on 15th January 2021, then translated with www.DeepL.com/Translator and edited.