Selling Crazy Ideas to Editors

By Carol-Lyn Jardine
Brigham Young University

Presenter: Sam Sundley, Illustrator, Virginian-Pilot

In Sam's presentation, you could almost feel the tension of the newsroom and the pressure visual journalists deal with when working under constraints. Sam said it's the job of the visual journalist (designers, illustrators, photographers) to be compelling -- or have a powerful, irresitable effect. And to be compelling, we must come up with good ideas worth fighting for. The ideas worth fighting for are the ideas that are expressive, meaningful and elicit a powerful reaction. As Sam said, they have the DNA of the creator ingrained within the idea.

Sam said when you have an idea worth fighting for, you sometimes have to use the NUCLEAR OPTION. When your editor doesn't agree with your idea, it may be time to take it to the top. He descirbed a story where the paper was covering the issue of sexual harrassment. His illustration clearly defined the issue with a row of men in business suits, their faces drawn into their crotches, leering at a passing woman. His editor wasn't comfortable with the drawing, so Sam took it to the boss, who gave the green light and asked for the original drawing. Sam advises to be careful and thoughtful of using the nuclear option, because it has the potential to backfire.

Sam's feelings on the effect of political correctness on creativity are very clear. He calls it salt peter for the mind. Sam recommends when presenting an idea that may "hurt someone's feelings" in terms of politcal correctness, don't be afraid to be honest with your editor and point out the obvious. Sam illustrated a piece to go with a story on literacy in the work place. His drawing showed several workers with dunce caps. The editor said we can't do this, it will hurt their feelings. Sam's response -- they won't get it, they can't read!

When selling your idea to the editor, Sam said to be prepared to pull out all the stops, be honest and always tie the concept back to the story. He said to be careful of trying to explain the idea through "artistic crap." Keep it real.

A few more tips from Sam:
-- Be patient and wait for the right time to present. Sometimes an idea that wasn't right six months ago is right today.
-- Don't try to take control away from the editor
-- The power held by visual journalists is powerful, use it responsibly
-- Have the breakdown to support your idea ready to articulate at a moment's notice. Be able to back up your idea thoughtfully
-- You don't have to fight all the time. Show your editor your ideas and how you arrived at them. Including the editor in your thought-process will sometimes give a more clear picture of what you're trying to accomplish than fighting.
-- Build a resevior of Good Will with your editor. Be a problem solver. You want to be the person they come to when everything goes to crap. Some of the best times to have the freedom to try something out will be when they don't have other options. They won't try to shoot you down when you're saving their butts.
-- Be careful with shockvalue
-- Always push the envelope (or pull on the leash), but listen to your editors. They will save you from embarassing yourself over and over again.

Where Do Great Ideas Come From?

By Tim Martin
Eastern Illinois University

The thought crossed the mind of design guru Tim Harrower at a newsroom meeting, when he saw a group of dull, uninspired editors: "I can't let them suck my MOJO!"

The session titled "Where Do Great Ideas Come From" focused in on a handful of designers, both in print and advertising, who have pushed the boundaries of creativity. At the heart of the session was how to identify and nurture creativity. To demonstrate that goal, Tracy Collins, of The Arizona Republic, interviewed creative designers and plugged their thoughts into a multi-media presentation that looked at examples of work, their work environments and theory.

The cross section of designers, which included Harrower, Harris Siegel, Rodrigo Sanchez and Stephanie Grace Lim, was diverse, driving home the point that creativity is not a formatted, procedural thing, but rather something that can come in any form or person.

These designers had messy and clean work places. In their free time, they danced, made collages, sculpted and played hockey. They listened to music, ranging from rock to classical to jazz.

The presentation was high energy. Before his presentation started, a team of dancers performed, shimmeying and spinning across the carpeted floor. Music constantly blared, and the crowd often laughed at the commercials that Collins used in his presentation as examples of optimal creativity.

While the means to the end product varied, the result shared some of the themes that one ad agency laid out in its "Enemies of the Ordinary" mission statement:

1) Be Unforgettable
2) Be Simple
3) Be Provocative
4) Be Surprising

The blueprint to including those four elements into a news page, ad or illustration lies within creativity. To jumpstart ideas, Collins dispelled the myth that the first idea should always be thrown out. Instead, one should build on the first idea and, if that idea is good, focus on the execution.

Brainstorming is also an integral part in the creative process. Collins said he does not believe everyone should be involved in the sessions. He suggested surrounding yourself with people you respect, discriminate between word and visual people and play certain types of games (Pictionary, Guesstures) to kickstart ideas. Even then, there is no one clear path, as creativity -- something that can be squashed easily by managers or co-workers -- must be nurtured, as creativity as a raw talent is only moderately useful, according to one ad agency.

But one way to spark creativity in a newsroom, Harrower said, is to make sure this phrase is asked at every news meeting: "Wouldn't it be cool if..."

And Harrower said the reasons for presenting that phrase is clear: "To keep the mojo alive."

Conflict Photography - Capturing Memorable Images in War-Torn Locations

“I’m sure there were thousands of missed photographs out there,
but I got a few.” – David Samson

By Nathan Clendenin

Wow... As a photographer myself, this session made quite an impression. Three photographers, Cheryl Diaz Myer, David Samson and Rick Loomis shared their experiences while photographing in high conflict situations. Diaz Myer shared first recounting some isolated stories including her mother’s reaction to the news that she would be covering the war in Afghanistan, to being under missile attack in Iraq. Diaz Myer’s compassion for the soldiers she photographed was evident as she shared how she wrestled with the realization that, “If you make the wrong choice it could mean death [for the soldiers]”.

Cheryl Diaz Myer fields questions after her presentation.
Photo by Nathan Clendenin

David Samson shared a well put together multimedia presentation with his own voiceover commentary. He, like the other two photographers, shared the fears and uncertainties he experienced during his time in Iraq.

Rick Loomis, who before 9/11 had not covered any conflict situations, shared specific details from his experience of being embedded with troops in Iraq, including how he uploaded photos from his laptop via satellite phone and how he siphoned gasoline from abandoned cars for his small generator, which turned out to be an essential means of recharging all of his gear. Loomis also shared a DVD presentation that included powerful audio recorded from the battlefield.

Design & Photo: Brokering Peace

By Carol-Lyn Jardine
Brigham Young University

Presenters:
Tom Peyton, Ft. Lauderdale Sun-Sentinel
Tim Rasmussen, Ft. Lauderdale Sun-Sentinel

Tom, the visual editor, and Tim, the photo editor, have peace in their newsroom. They say they have peace because they have an alliance. They have respect for one another's work and contribution to the paper. Tim says peace isn't about agreeing or giving in, it's about compromise.

Tim says if you want peace, don't TELL the photog what to do, ask ... Use brainstorming sessions.

When trying to broker peace or pitch ideas, show them, don't tell them
...

Tom says peace takes time. Don't expect it over night and brokering peace is about leveling the playing field between departments.