In my writing, I try to combine all my favorite elements of journalism - accuracy, real characters that exist on this planet - with all my favorite elements of literature: a sense of flow, of propulsion, of wanting to read every sentence.
I personally think honestly disclosing rather than hiding one's subjective values makes for more honest and trustworthy journalism. But no journalism - from the most stylistically 'objective' to the most brazenly opinionated - has any real value unless it is grounded in facts, evidence, and verifiable data.
The 'Guardian''s unique ownership structure safeguards our editorial independence from commercial or political interference and means we can reinvest any money we receive into this journalism that matters so much.
When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't.
When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't true. What became important was to have a point of view.
My first real writing job was at 'Rolling Stone,' so I wrote about rock-and-roll and politics and the like. At the time, I really didn't know what I wanted to write, and I did a bunch of investigative journalism.
I guess I went into journalism to save the world. I always felt through writing that I wanted to rotate the world slightly.
Many science-fiction writers, such as Gregory Benford, are working scientists. Many others, such as Joe Haldeman, have advanced degrees in science. Others, like me, have backgrounds in science and technology journalism.
I often attribute my screenwriting to journalism because they drill in the who, what, when, where and why - but we really need to land on that why. That's what I've been exploring in my writing for many years and trying to get better at.
Except for politics, no business is scrutinized more exhaustively than journalism.
When I was 26 or 27, I gave up journalism. I came to England after my mom died, to let serendipity take its course. And I just found myself back in journalism again.
It's all a sham: I have seen, and I know firsthand, indeed from my own pen, how the organized Right has sabotaged not only journalism but also democracy and truth.
I'm fortunate in having journalism as a sideline to pay the bills, and I essentially do it in order to take as long as I want with books.
I've found there to be a tremendous amount of East Coast snobbery in the journalism world.
I see myself working in the tradition of sociology and journalism that tries to bear witness to poverty.
The '30 for 30' strand started life as a series of behind-the-scenes docs for the sports channel ESPN. It has now spawned an equally fascinating series of podcasts. Like the films, these podcasts don't rely on access, the usual currency of sports journalism, and are strangely excited by stories that are complicated and require telling at length.
If journalism is the first draft of history, then talk radio provides an early glimpse into how the meaning of political events will be spun for ideological and partisan purposes.
Well, I mean, the real attack on truth is tabloid journalism in the United States.
When it comes to the teapot tempest that is the Hillary Clinton email imbroglio, the real controversy isn't about politics or regulations. It's about journalism and the weak standards employed to manufacture the scandal du jour.
Local television news, on both radio and television, is so appalling. Makes print journalism look like the greatest stuff ever written.
