EXTRA!EXTRA!

REPORTING OPPORTUNITIES IN JAPAN:

A Practical Guide By Eric Johnston

Deputy EditorThe Japan Times

Osaka bureau

Japan Writers ConferenceOctober 18th, 2009

This presentation assumes. . .This presentation assumes. . .

You have an interest in straight reporting and writing news features on a wide variety of timely events, as opposed to writing a personal opinion column, doing book, music, art, or restaurant reviews, or writing up interview pieces.

You have a love of, and preference for, traditional print and broadcast media and appreciate the traditional editorial methods they embrace.

THE BASICSTHE BASICSGetting Started: What All Successful Freelance Getting Started: What All Successful Freelance

News Reporters in Japan Usually Have News Reporters in Japan Usually Have 1) Bilingual business cards 2) A Web page with their articles 3) A bilingual PC 4) A cell phone capable of international calls 5) Easy access to a host of basic facts and figures

about Japan, including major on-line daily news stories

6) A decent digital camera 7) Receipt books and notebooks for accounting

purposes 8) A local Japanese person who serves as your

``fixer’’, either paid or volunteer

PART IPART I

MAKING

CONTACT WITH JAPAN-BASED NEWS MEDIA

How Much Experience Do I Need Before I Can How Much Experience Do I Need Before I Can Realistically Expect To Be Considered for a Job?Realistically Expect To Be Considered for a Job?

1) You Need To Have Been Published in a Similar Media Form Previously.

2) You Need To Demonstrate You Know How To Pitch A News Story To The News Editors, and Understand Their Concerns.

3) Personal References Are Helpful, But It’s No Substitute for a Decent Portfolio.

The Negotiation PhaseThe Negotiation Phase

Length of stories –400 and 800 words on average, for a news piece and up to 2,000 words for a

magazine-style piece.

Rates: between 10,000 and 100,000 yen, depending on publication, with payment in the

20,000-50,000 yen range the norm for newspapers.

Expenses: varies.

Photos: Sometimes extra payment, sometimes not.

Sealing the DealSealing the Deal

Japan’s English-language media rarely, if ever, offer written contracts. Promises are verbal.

THE THREE BASIC QUESTIONS: 1) In addition to the basic rate for the article,

are travel expenses covered? 2) What’s the rate for photos and is that rate

per published photo? 3) Will the article by translated into Japanese?

Japan ExtrasJapan Extras Make sure you have a list of all of your major

Japanese sources and contacts –especially editorial contacts -- and send them New Year’s Greeting Cards. Mid-summer greetings (a postcard) should also be sent to high-level sources who are older.

If you can get an overseas publication to sponsor you, apply for a Foreign Ministry press card. It opens official doors that may otherwise remain closed.

Make sure you’re on the Tokyo Foreign Press Center’s mailing list for important announcements and all sorts of other stuff.

Japan ExtrasJapan Extras IDENTIFYING YOURSELF IN JAPANESE: 記者： Kisha: The translation is ``reporter’’. The

nuance is that you’re a full-time news reporter for a mainstream media organization.

特派員： Correspondent: Implies an ongoing, formal, full-time professional relationship with one media organization where you write or broadcast news and feature-type stories.

フリージャーナリスト： The equivalent of a freelance journalist, it implies you’re writing or broadcasting for different media, on assignment.

ジャーナリスト： Slightly more scholarly in nuance, implies you may be something of an expert in one subject or another, and have, perhaps, written books on that very subject.

IN GENERAL, EDITORS AT JAPANIN GENERAL, EDITORS AT JAPAN’’S ENGLISH S ENGLISH LANGUAGE NEWS MEDIA EXPECT THE LANGUAGE NEWS MEDIA EXPECT THE

FOLLOWING FROM FREELANCERSFOLLOWING FROM FREELANCERS A good grounding in whatever subject they are writing about, but an

outsider’s , not an activist’s, perspective An ability to take tired, clichéd Japan subjects and make them

interesting An ability to work alone with little direction An ability to turn last-minute, confused, contradictory requests from

the editors into a well written and well-researched piece that lands on the editor’s desk on deadline and not one-minute afterwards

An acceptance that the editor, not the freelancer, has the final say on how the piece turns out

An ability to communicate on a regular basis what the freelancer is doing, who else he or she is writing for, and a willingness to be honest and open about possible conflicts of interest, either financial or otherwise

An ability to roll with the punches if and when ``cultural differences’’ arise between you and the Japanese editor or editors.

PART IIPART II

MAKING CONTACT WITH

OVERSEAS MEDIA

FIRST, THE BAD NEWS. . .FIRST, THE BAD NEWS. . .

The amount of general interest in Japan among overseas media is the lowest it’s been in decades.

There is a surplus of experienced, talented freelance reporters in Japan who are fighting for ever-fewer jobs.

Those ever-fewer jobs pay less than in the past.

NOW, THE GOOD NEWS. . .NOW, THE GOOD NEWS. . .

Shrinking newsroom budgets worldwide mean that editors are always looking for ways to cut costs, which gives freelancers in Japan an edge over full-time staffers.

While Japan is declining in importance to overseas media, Asia is still important to most Editors. Successful Japan-based freelance reporters travel as far west as Afghanistan, as far south as Indonesia, and are often seen in Beijing, Shanghai, Taipei, or Seoul.

TWO COMMON WAYS FREELANCERS IN JAPAN FIND JOBS AND MAKE

MEDIA CONTACTS:

1) Covering International Conferences

2) Covering Visits by VIPs.

EXAMPLESEXAMPLESYOU LEARN THAT A LARGE

INTERNATIONAL CONFERENCE ON BIOTECH IS TAKING PLACE

Response: Contact the Health and Science Editors of Newspapers you think might be interested in the issue, as well as magazines and specialty publications that deal with biotech. Explain the content of the conference and ask if they’re interested in either daily reports or a general feature.

EXAMPLES:EXAMPLES:

YOU LEARN THAT THE GOVERNOR OF THE U.S. STATE OF NEBRASKA IS VISITING

JAPAN Response: Contact the major newspapers in

Nebraska, offer to write stories with angles that will not be covered by the wire services. Contact magazines, trade magazines, or newsletters devoted to beef or agricultural issues, offer a feature on the state of Japanese beef or agriculture and how it compares with Nebraska, using the governor’s remarks as a lead-in

GENERAL DOGENERAL DO’’S AND DONS AND DON’’TS FOR TS FOR BOTH LOCAL AND OVERSEAS MEDIA BOTH LOCAL AND OVERSEAS MEDIA

DONDON’’T:T: Submit Story Ideas Without Knowledge of What They Have Already Written on The Subject: The first question I always ask a potential freelancer is, when was the last time my paper ran an article related, directly or indirectly, to that particular subject. If they can’t answer, I hang up.

Automatically Believe That You Have A Unique Experience Worth Writing About: ``Hey, I’m an English teacher in Japan and I’ve got some great stories about. . .Hello? Hello?’’

DONDON’’T:T: Assume That You Understand Japan Simply

Because You Read Overseas Media: Often, the Japan-based English language media see Japan quite differently than the overseas media. Newbies who pitch story ideas an editor who has been in country more than six months knows are clichéd or superficial may wait in vain for an answer.

Pretend You’re a Japan Hand if You’re Not: Editors can quickly tell if you can walk the walk as well talk the talk. The good news? A lot of editors here are just as ignorant of Japan as you are, or simply don’t care. Or, they value your ability to tell a good story over your knowledge and experience in-country.

DONDON’’T:T: Remain Unable To Explain The Japan You Do

Know: Whether you’re a budding Japan Hand with diverse intellectual interests, or an internationally recognized academic expert in one field, the ability to explain your topic in an interesting, concise manner for a mass audience is crucial.

Fail to Understand That, The Longer You Are Here, The Better Your Instincts About Japan Are Supposed To Be: Japan offers foreigners in general the opportunity to remain outsiders. This is a double-edged sword. If you’ve been here for years, have poor language skills, and don’t have a lot of general knowledge about Japan, you’ll be looked upon as an amateur. Are you here in Japan, emotionally and intellectually, as well as physically? If not, then what, exactly, are you doing here?

DONDON’’T: T:

Ignore Your Reputation: Some writers believe they have to get their name out to anyone and everyone. But HOW you get your name out and WHAT kind of content your byline stands over marks your reputation. The Japan-based community of news and features writers in English is fairly small, and people tend to know or know of each other more than many people realize.

SO, BE VERY CAREFUL WHAT YOU PUT YOUR NAME TO.

And On Reputation. . . And On Reputation. . . Addressing a RumorAddressing a Rumor

RUMOR: ``Japanese English language newspapers and magazines have blacklists of freelancers whose

work is refused everywhere.’’

FACT: No formal blacklist exists. But long term editors often know or know of each other and do

exchange information privately about freelancers. Even competitors will warn each other about

freelancers they’ve caught cutting and pasting from Wikipedia, being sloppy with the facts, or who they’ve heavily edited due to the libelous nature of the prose.

SO, WHAT SHOULD YOU SO, WHAT SHOULD YOU DO?DO? Write The Odd Freebie: Some writers believe

that, once they’re established in Japan, they don’t need to give anything away for free in order to succeed further. Wrong. You are writing for a very small community and opportunities from the editors in that community and elsewhere who pay often come only after you’ve shown you have an altruistic side .

Keep Editors Posted on the Status of Your Submissions: Let’s say that you’re shopping a piece to several different outlets with the thought you’ll go with the first one that says yes. Once you get that ``yes’’, you need ask the publication that said ``yes’’ if they have exclusive rights to your piece, or if it’s OK if the piece appears elsewhere. If they have exclusive rights, you need to notify everyone else you sent the piece to that such rights have just been purchased.

DO:DO: Make Sure All of Your Correspondence

With the Editors is in Writing: Especially on terms of payment, and on issues like rewrites, photos, travel expenses, etc.

Visit The Editorial Offices Once In A While, Just To Say Hello: In the Internet age, it’s too easy to do all your work by computer. Politically astute, i.e. gainfully employed, writers know it can pay dividends to drop by the office once in a while just to say hi and let the editors know there is a human being behind all of the e-mails.

DO:DO: Know when to say ``No.’’ Turning down assignments as a freelancer is quite

tough. But saying ``yes’’ to everything, or not taking into consideration your reputation, is to go down the path of the Dark Side. Some writers think that if they do the crap, they’ll get the good stuff later out of sheer loyalty. It doesn’t usually work that way. Those who write about crap usually continue to get assigned crap because nobody else with integrity wants to do those kinds of stories. Sometimes, for your own sanity, and your own reputation, you simply have to say ``No.”

DO:DO: Join An Organization Where You Are

Likely To Make Contact With People Involved in Local Journalism:

Why? So you can learn which publications commission work and give you plenty of time to get the copy in, edit that copy well and after consultation with the writer, and then pay on time the full amount owed for both the article and expenses, and so you can learn which publications commission work at the last minute, rewrite most of it without telling you and add mistakes, and then fail to send you a check or just pay you a fraction of what you agreed to.

AND WHAT ABOUT LOCATION or AND WHAT ABOUT LOCATION or DO I NEED TO BE IN TOKYO?DO I NEED TO BE IN TOKYO?

ARGUMENTS FOR BEING BASED IN TOKYO:

1) It’s the capital city where the most important headline news is made and it’s very easy to gather lots of stories of interest to editors.

2) It has a vast, efficient information infrastructure that makes it easy to tap into the English sources and find opportunities, a big plus if your Japanese language ability is poor.

3) Travel expenses within Tokyo are minimal.

ARGUMENTS AGAINST BEING BASED IN TOKYO

1) Everybody is in Tokyo and the big news is usually covered by the Tokyo-based wire services.

2) Major events of interest to editors now often take place outside Tokyo, especially here in Kyoto. Tokyo is no longer the center for many conferences and gatherings where freelancers in Japan often get work.

3) If you’re living outside of Tokyo, you’re lifestyle is probably cheaper, which means you can offer slightly lower rates than Tokyo-based freelancers.

Exercise : Exercise : Covering a Covering a ConferenceConference

SituationSituation: : An international conference on fish, chips, and mushy peas is taking place in An international conference on fish, chips, and mushy peas is taking place in

Stockholm and an NGO has offered to pay your way in exchange for covering it. Stockholm and an NGO has offered to pay your way in exchange for covering it. But they donBut they don’’t want to give you an NGO badge. Rather, they want you to get a t want to give you an NGO badge. Rather, they want you to get a press badge. And they you want to write about the conference not just for their press badge. And they you want to write about the conference not just for their

NGO newsletter, but also their blog. NGO newsletter, but also their blog.

QUESTION: When you approach other media asking about doing

stories at the conference, do you: (a) explain what you’ll be doing for the NGO that is

paying your way; or (b) not say anything because, after all, the NGO has

nothing to do with the media you’re approaching, and, besides, what you write for the NGO will be different from what you write for any media

CORRECT ANSWERCORRECT ANSWER:

(a) In general, editors will not care if they are told in advance, but will be extremely angry if they are not told that your way is being paid by an NGO and find out later. Some media companies have in-house rules about what kinds of payment freelancers can accept, and you’re getting yourself blacklisted if you they hire you and then find out what you’ve done.

Next, you approach three media to ask for Next, you approach three media to ask for press credentials:press credentials:

(1) The Tokyo Times, an English-language daily paper available primarily in Japan;

(2) The West Japan Journal –a monthly magazine available primarily in all cities west of Kyoto;

(3) The Alleghany Kiski Valley Star & Ledger – a weekly magazine available only in northern suburbs of Pittsburgh, Pennsylvania.

You get the following replies: ``We can’t give you press credentials, but pitch us story ideas every day during the

conference. If we like any of your ideas, we’ll ask you to write a 600 word feature story for 25,000 yen and pay for the story plus any necessary expenses.’’ –The Tokyo Times

``We’ll give you press credentials. You need to blog for us, but we can’t pay you for that. You don’t need to file anything for the print edition, though, until after it’s all over and we’ll pay 1,000 yen for 1,000 words,’’ –West Japan Journal

``We can’t get you press credentials or pay your expenses. But, if you go, we might like an occasional story, maximum 400 words, and we’ll pay you 40,000 yen/article,’’ –The Alleghany Kiski Valley Star & Ledger

SO WHAT DO YOU DO?

Suggested Response:Suggested Response: Immediately agree to work for the West Japan

Journal –they are the only one of the three who will sponsor you for a press badge.

During the conference, blog for the Journal and the NGO paying your way, and do the NGO newsletter. When that’s done, pitch story ideas to the Tokyo Times.

Keep the Star & Ledger updated during the conference with short e-mails. After the other assignments are out of the way, pitch them story ideas. Mention what you’ve done for The Tokyo Times and the Journal.

At the Conference. . .At the Conference. . .

HOW TO IDENTIFY YOURSELF TO INTERVIEW SUBJECTS AND AT PRESS BRIEFINGS:

As an NGO representative? After all, they are paying for your flight and hotel rooms and you are contributing to their newsletter and blog every day, a newsletter those attending the conference are likely to read.

As a freelance journalist writing for a variety of publications? After all, your press badge will identify you as being with the West Japan Journal?

ANSWERANSWER This can be tricky. Your most prominent writing is

for an NGO but you don’t have an NGO badge. Sometimes it’s easier to get access if you’re with an established NGO rather than being an anonymous ``freelance journalist’’ writing for publications like the West Japan Journal that nobody at the conference has ever heard of. On the other hand, some press conferences are not open to NGOs.

SUGGESTED RESPONSE: Tell the NGO that sends you you’re going to introduce yourself as ``a freelance journalist writing for a number of overseas publications and NGOs.’’ Get business cards for the conference identifying yourself as a freelance journalist, but with the logos of each of the three media, as well as the NGO, printed beside your name.

The Tokyo Times The West Japan JournalThe West Japan Journal

The Allegheny –Kiski Valley Star & Ledger,

Peace for Peas! (NGO)

Eric Johnston

Freelance JournalistMY KEIMUSHO Bldg. 2F

8-9-3 Nomachi

Osaka, Japan 550-0002

TEL: 81-6-666-6666

FAX:81-6-666-6666

Cell Phone: (0)80-8867-5309

Cell e-mail: ehj2br02b@doconimo.jp

E-mail: crazyhack@yahoo.com

HOW TO IDENTIFY YOURSELF HOW TO IDENTIFY YOURSELF IN PRINTIN PRINT

Answer: You need to tell each of the three media organizations and the NGO your preference for a title. But how they decide to identify you is up to them.

By Eric Johnston, Special to The Tokyo Times

By Eric Johnston, Special Correspondent

By Eric Johnston

Odds & SodsOdds & Sods ON KILL FEES: Japan’s English-language media, and many overseas media,

sometimes pay kill fees but only if they’ve given you an assignment. Check and see.

ON PHOTOS: If you’re a wordsmith, you are also likely expected to be a

photographer. Photos are always extra, and the rate depends on the publication. Among Japan’s English-language media 2,000 yen -10,000 yen/photo seems to be the range.

ON VIDEO REPORTS: This is a brave new world, and it’s still fairly rare that print

journos who are freelance will asked to file video as well. But check and see

Odds & SodsOdds & Sods

The Freelancer’s Dilemma:

To Teach or Not To Teach (or Edit, Translate, Tend Bar, Serve as a Fake Priest, Work as a

model or background extra in NHK TV dramas, or do some other part-time job in order to make ends meet)

Eric’s informal survey of freelance friends revealed that none take on more than two classes a week, and only at places that have very generous policies for making up missed classes. Most do Editing, Translation on the side.

In ConclusionIn Conclusion Making it as a freelance reporter in Japan is not easy,

but it’s not impossible. A curiosity about many different subjects, a good general knowledge of Japan, and an ability to navigate the system and deal with all sorts of people here are critical components of success.

``Writers are solitary beasts. Reporters are social animals.’’

It is better to position yourself as a ``Japan-based’’ reporter who is willing to cover events outside of Japan, in East, South, or Southeast Asia than as a Japan-hand.

GOOD GOOD LUCK!LUCK!

. . . And thanks for listening